Art  Lib 
NK 
3855 
C9N48 


NEW  YORK 
METROPOLITAN  MUSEUM 

OF  ART     ;         .-•£   W* 

POTTERIES  OF  THE     , 
CESNOLA  COLI£CTION  IN 
THE  SOUTH  A  IS  IE  OF  THE 
GREAT  mil 


THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


METROPOLITAN  MUSEUM  OF  ART. 


HAND-BOOK    No.  2. 


POTTERIES 


Cesnola  Collection 


PUBLISHED   BY  THE 

METROPOLITAN    MUSEUM    OF  ART. 


METROPOLITAN  MUSEUM  OF  ART. 


HAND-BOOK    No.  2. 


POTTERIES 


Cesnola  Collection 


SOUTH  AISLE  OF  THE  GREAT  HALL. 


PUBLISHED   BY  THE 

METROPOLITAN    MUSEUM    OF  ART. 


The  Cypriote  Pottery  is  placed  in  the  South  Aisle  of  the  Great 
Hall.  The  Wall-cases  are  numbered  1-38,  No.  i  being  at  the  East 
end.  The  outer  cases  are  lettered  A-F.  The  shelves  are  numbered 
from  below  upwards.  Thus  636  (9,  4)  means  that  Vase  636  is  in 
Case  9,  on  Shelf  4. 

E.  H .  means  East  Entrance  Hall;  C.  H .  is  Central  Hall. 


»rt  Library 

/  • 


INTRODUCTORY. 


POTTERY  is  clay,  hardened  by  fire.  The  clay  is  usually 
•*-  softened  by  water  for  the  purposes  of  forming  into  shape, 
but  sometimes  (as  in  modern  tile  factories)  the  clay  is  pressed  into 
form  while  dry.  The  intermixture  of  sand,  and  stones  reduced  to 
powder,  with  the  clay  gives  various  degrees  of  hardness  to  the 
material  when  partially  vitrified  by  heat.  Being  easily  moulded 
and  shaped,  pottery  affords  the  most  extensive  illustration  of  form 
in  art.  Mineral  colors  applied  on  pottery  can  be  baked  without 
material  change.  Pottery  thus  affords  the  most  valuable  record 
of  the  art  of  painting  and  decoration,  preserving  imperishably  the 
tastes  of  all  nations  and  tribes  who  have  made  and  painted  it. 

Pottery  has  been  made  by  all  nations  in  all  times.  The  earliest 
notice  of  the  art  in  history  is  in  the  Hebrew  of  Moses,  who  de- 
scribes the  making  and  burning  of  brick  by  the  people  at  Babel. 
The  oldest  known  specimens  of  the  art  are  Egyptian,  dating  from 
B.  c.  3000  to  B.  c.  2000.  Bricks  are  abundant  in  the  valley  of  the 
rivers  of  Asia  which  may  be  as  ancient,  but  none  are  yet  known 
of  earlier  time  than  Urukh,  whose  date  is  about  B.C.  2200.  The 
Chinese  date  the  invention  of  pottery  in  the  reign  of  Hoang-ti,  a 
date  about  corresponding  to  B.C.  2168.  In  the  East  as  in  the 
West,  therefore,  the  history  of  the  art  covers  a  period  from 
B.  c.  3000  to  the  present  time.  This  period  also  includes  all  known 
works  of  human  art  outside  of  Egypt,  where  the  chronology  re- 
mains in  dispute. 


4  INTRODUCTORY. 

The  Cesnola  Collection  includes  specimens  of  ancient  Egyp- 
tian, Phoenician,  Greek,  Roman,  and  Saracen  potteries.  The  first 
and  last  are  exceptional  specimens.  The  collection  illustrates  in 
the  main  a  local  history  of  ceramic  art  practised  in  Cyprus  by  the 
Phoenicians  and  their  Greek  successors,  from  a  date  possibly 
B.C.  1500  down  to  A.  D.  300,  and  perhaps  later. 

The  student  will  be  able  here  to  examine,  as  perhaps  nowhere 
else,  the  history  of  growth  and  change  in  local  art  under  the  vary- 
ing influences  which  affect  human  life  and  human  tastes. 

The  first  forms  were  doubtless  forms  of  utility.  The  bowl  and 
the  bottle  are  two  simple  forms,  primarily  useful,  and  afterward 
varied  into  a  large  number  of  known  forms.  Pools  of  standing 
water,  ponds,  lakes,  rest  in  natural  bowls,  and  may  have  suggested 
the  first  artificial  bowl,  whether  of  pottery  or  another  material. 
The  need  of  carrying  water  to  great  distances  would  suggest  the 
narrow  neck  with  a  stopper,  and  the  use  of  a  gourd  or  a  potter)' 
bottle.  Curved  forms  are  more  easily  made  than  angular  forms, 
and  after  the  potter's  wheel  is  invented  circular  forms  are  of  course 
common.  Copies  of  forms  in  nature  are  made  when  ideas  of 
beauty  in  art  begin  to  arise  in  the  mind.  Eggs,  fruits,  seed-vessels 
of  plants,  suggest  forms  both  useful  and  beautiful.  The  purposes 
of  utility  and  ideas  of  beauty  work  together  to  vary  the  simple 
original  forms.  Spouts,  handles,,  feet  are  added,  because  useful, 
and  varied  to  be  beautiful.  The  narrow  neck  of  the  bottle  be- 
comes the  graceful  neck  of  the  vase.  The  foot  unites  with  various 
curves  to  the  body.  Complex  forms  grow.  As  forms  are  sug- 
gested, the  popular  mind  rejects  or  accepts  them.  Art  progress 
is  a  matter  of  commerce  and  trade.  The  people  buy  what  they 
like,  and  thus  popular  forms  are  established  in  national  arts. 
Angular  forms  are  rare  in  original  Western  art.  Polygonal  forms 
are  pleasing  because  they  are  repetitions  and  may  be  called  rhyth- 
mical. An  octagon  is  liked  when  all  sides  or  opposite  sides  are 
equal.  One  side  unequal  to  others  destroys  its  acceptability. 


INTRODUCTORY.  5 

The  Chinese  are  fond  of  polygonal  forms,  as  may  be  seen  espe- 
cially in  the  reticulated  wares  of  the  Oriental  Porcelains  in  the 
North  Gallery. 

Decoration  accompanies  form  as  ideas  of  beauty  control  pro- 
ducts. Early  decorations  are  scratched  surfaces,  as  in  the  Alambra 
wares.  Check  and  lozenge  patterns  are  rudely  drawn ;  when  col- 
ored earth  is  used,  these  are  drawn  in  color.  The  love  of  repe- 
tition, rhythm,  soon  leads  to  selections  of  patterns  in  lozenges, 
and  thus  perhaps  grow  meander  and  like  decorations.  Circles  are 
among  early  forms  of  decoration.  Some  tribes  stamp  them  rudely 
on  pottery  with  the  end  of  a  hollow  reed.  The  potter's  wheel 
enables  decorators  to  draw  circular  bands  around  objects,  and 
describe  any  number  of  concentric  circles  on  the  sides  of  vases. 
Symbolic  decorations  usually  precede  those  which  are  merely 
pleasing  to  the  eye.  The  Phoenicians  seem  to  have  adhered  to 
symbolism  always.  The  Greeks  cared  little  for  symbolism,  and 
were  great  lovers  of  beauty  in  repetitions,  as  shown  in  their  bor- 
der decorations,  which  are  also  popular  with  us.  The  Phoenicians 
rarely  made  pictures  of  objects.  The  Greek  mind  seems  to  have 
introduced  pictures  of  animals,  flowers,  and  men  as  pottery  deco- 
rations. The  Egyptians  had  also  used  these  paintings,  but  appa- 
rently with  more  reference  to  the  religious  character  of  the  pictures 
than  the  decoration  of  the  pottery. 

Decorative  surfaces  to  pottery  seem  to  have  been  invented  by 
the  Egyptians.  Blue,  green,  and  white  enamels  were  used  in 
Egypt  at  a  very  early  period.  The  Phoenicians  probably  invented 
the  thin  glaze  which  has  given  the  modern  name  Lustrous  Pottery 
to  the  favorite  ware  of  the  Greeks.  The  orange-red  ware  of  the 
Phoenicians,  covered  with  this  thin  varnish-like  glaze,  was  adopted 
by  Greek  taste  and  used  for  the  larger  portion  of  all  the  superb 
products  of  Greek  Ceramic  art.  • 

Among  the  potteries  found  in  the  Curium  vaults,  the  student 
will  find  a  series  of  illustrations  of  the  progress  of  art  from  Phoe- 


6  INTRODUCTORY. 

nician  to  Greek  characteristics.  The  vase,  No.  5495  (F,  2),  on 
which  appear  Hercules  and  the  Nemsean  lion,  is  important  as  a 
link  between  the  early  style  commonly  called  Doric  (sometimes 
Carthaginian)  and  the  later  Greek  style  of  painting  vases  with 
pictures  in  black  on  red.  The  work  is  of  the  later  Greek  class, 
while  the  lion  is  the  immobile  animal  of  the  Doric  vases,  and  the 
style  is  evidently  of  the  transition  period. 

Colored  enamels  were  not  favorite  decorations  with  Phoenicians 
or  Greeks.  Babylonia  and  Assyria  used  them  freely,  and  built 
great  walls  with  brick  enameled  gorgeously.  Occasional  speci- 
mens of  such  work  by  Greeks  have  been  found  in  Rhodes  and 
other  Greek  localities,  apparently  of  Greek  workmanship.  Egyp- 
tian enameled  objects  found  their  way  to  Cyprus,  as  shown  by 
examples  here. 

In  the  Cesnola  Collection  the  student  will  find  the  origin  of  a 
vast  portion  of  the  body  of  Greek  form  in  art.  It  is  important  to 
note  that  in  this  extensive  illustration  of  Phoenician  and  Greek 
Ceramic  art,  there  is  not  one  duplicate  specimen.  To  the  student  and 
the  art  historian  every  object  has  a  special  value.  There  is  no  known 
form  popular  among  the  Greeks  and  by  them  handed  down  to  us 
which  is  not  here  found  in  the  work  of  their  Phoenician  predeces- 
sors. This  fact  is  a  revelation  in  the  history  of  art.  The  Cesnola 
Collection  is  thus  an  inexhaustible  source  of  instruction  and  ex- 
ample for  American  artists  and  artisans,  as  well  as  to  those  stu- 
dents of  history  who  seek  to  know  the  origins  of  the  Hellenic 
civilization,  which  is  in  so  large  measure  the  ancestor  of  our 
civilization. 


CYPRIOTE    POTTERY. 

For  a  short  historical  account  of  ancient  Cyprus  see  the  Hand-book  to 

the  Sculptures. 

IN  many  ages  and  countries  it  has  been  the  custom  to  furnish 
the  house  of  the  dead  with  the  objects  that  surrounded  him 
during  life.  Thus  it  is,  that  while  scarcely  a  trace  of  antiquity 
has  been  left  above  ground  in  Cyprus,  the  soil  teems  with  relics, 
"  fossils  "  that  revive  the  memory  of  their  owners.  The  pottery 
in  the  South  Aisle,  the  glass  and  much  of  the  jewellery  and  many 
seals  in  the  South  Gallery,  the  bronzes  in  the  West  Entrance 
Hall,  the  alabaster  phials,  the.  terra-cotta  figures,  little  idols  and 
ornamental  statuettes,  in  the  East  Entrance  Hall,  were  all  the 
furniture  of  graves.  Beside  the  great  demand  for  pottery  to  put 
into  graves  it  was  employed  in  antiquity,  it  should  be  remembered, 
as  it  is  still  largely  employed  by  the  descendants  of  those  nations, 
for  storage  and  transportation  where  we  use  other  materials.  Thus 
the  array  of  pottery  in  the  South  Aisle  displays  not  only  jars,  pots, 
pitchers  and  cups,  but  the  ancient  representatives  of  our  boxes, 
barrels  and  buckets. 

There  are  two  great  groups  in  this  arrangement,  the  principle 
of  division  being  the  use  of  the  wheel. — Hand-made  Pottery  in 
Cases  1-15,  excluding  Cases  12  and  13  ;  Wheel-made  Pottery  in 
Cases  17-35,  with  12  and  13,  most  of  the  large  jars  on  the  lowest 
shelf  of  all  the  wall  cases,  and  Cases  A-E.*  The  invention  of  the 
potter's  wheel  caused  the  difference  in  shape  and  ornamentation 
between  these  two  classes. 

(i.)  The  shapes  of  the  wheel-made  pottery  are  few  and  simple, 
departing  less  from  the  fundamental  forms  of  sphere  and  cylinder. 

(2.)  Even  when  the  bodies  of  the  hand-made  pottery  are  simple, 

*  Cases  36-38  are  disregarded,  being  foreign  styles  and  not  native 
Cypriote  Pottery.  F,  the  Pottery  of  the  Treasure  of  the  Temple  of  Curium 
is  not  included  because  it  is  itself  a  collection  of  various  styles. 


8  CYPRIOTE   POTTERY. 

they  are  inferior  in  that  they  are  globular,  and  therefore  heavy  and 
without  individuality,  whereas  the  shapes  of  the  wheel-made  pot- 
tery are  more  like  statues,  rising  high  with  greater  breadth  at  the 
shoulders. 

(3.)  With  the  hand-made  pottery  a  round  bottom  is  the  rule ; 
the  few  bases  are  flattened  badly  ;  the  rims  are  attachments.  In 
the  wheel-made  pottery  a  flat  base  is  a  necessity  of  the  process, 
and  the  rim  is  part  of  the  same  mass  that  may  or  may  not  be 
accented  by  the  turning. 

(4.)  The  hand-made  pottery  is  furnished  not  unfrequently  with 
modelled  decoration  which  in  the  wheel-made  vases  has  been  dis- 
carded. Examples,  3  (2,  2),  1503  (7,  2),  1634  (7,  4),  1246  (8,  2). 
These  effects  of  modelling  in  shape  and  in  fantastic  ornament 
make  them  often  incline  toward  the  intricacy  of  the  animate  world, 
whereas  the  wheel-made  pottery  is  geometrical. 

(5.)  The  surface  decoration  of  the  hand-made  pottery  is  less 
simple,  being  lavished  over  the  whole  body.  In  the  wheel-made, 
the  most  striking  feature  is  the  series  of  bands  that  belt  the  vase. 
It  is  an  ornament  that  the  wheel  has  brought  with  it,  and  is  made 
by  holding  the  brush  against  the  vase  as  it  revolves  before  the 
worker's  hand.  The  belts  and  the  zones  they  enclose  subdue  the 
other  decoration  and  become  much  the  most  striking  ornament. 
Horizontal  bands  are  not  uncommon  on  the  hand-made  vases,  but 
they  are  lost  in  the  mass  of  other  decoration  and  hence  form  no 
zones. 

(6.)  Another  striking  divergence  in  decoration,  which,  however, 
has  nothing  to  do  with  the  use  of  the  wheel,  is  the  application  of  sets 
Of  concentric  circles,  as  3903  (19,  2).  They  are  found  in  profusion 
on  the  wheel-made  pottery,  but  are  unknown  to  the  hand-made, 
except  on  a  few  pieces  of  the  Alambra  pottery. 

Beside  these  structural  and  decorative  differences  are  differences 
of  accompanying  objects. 

(i.)  Except  in  very  rare  cases,  hand-made  and  wheel-made  pot- 
tery were,  as  we  might  expect,  not  found  united  in  the  same  grave. 

(2.)  The  rude  terra-cotta  statuettes  and  the  Oriental-looking 
terra-cotta  statuettes  (E.  H.  20-21) ;  the  open  shell-shaped  lamps 
on  the  lowest  shelf  of  the  Case  of  Lamps  (next  to  A) ;  the  cylindri- 
cal seals  with  Assyrian  subjects — these  three  classes  of  objects 
were  in  graves  with  the  hand-made  pottery ;  they  are  not  a  fea- 
ture of  the  wheel-made,  which  had  with  it  very  few  terra-cottas. 


CYPRIOTE   POTTERY.  9 

lamps,  and  seals.  Thus  are  the  hand-made  and  the  wheel-made  pot- 
tery two  sharply  sundered  groups,  distinct  in  process  of  making, 
in  decoration  and  in  associated  objects.  N.  B. — The  wheel-made 
pottery  in  Cases  12  and  13  is  in  all  respects  except  process  of 
making  and  decoration  to  be  classed  with  the  hand-made,  for  it 
was  united  with  it  in  graves  and  accompanied  by  terra-cottas  of 
similar  kind. 


ALAMBRA    POTTERY.    (CASES  1-6.) 

ALAMBRA  is  the  modern  and  probably  the  ancient  name  of  a 
village  near  Dali,  the  ancient  Idalium.  The  accompanying  objects 
were  coppers,  terra-cotta  statuettes  of  gods,  men  and  beasts, 
clay  whorls,  lamps,  and  vessels  of  serpentine  stone.*  Terra-cottas 
1-4  (E.  H.  21,  5)  are  from  Alambra. 

The  clay  is  mostly  red  or  yellow,  but  a  certain  number  of  pieces 
(Cases  5  and  6)  are  of  a  blackish  clay.  The  black  and  a  large 
portion  of  the  red  ware  has  received  a  coating  each  of  its  own  color. 
All  of  the  pottery  of  Alambra  was  made  by  hand  and  consequently 
few  pieces  have  flat  bottoms.  From  the  same  cause  there  is  a 
good  deal  of  variety  in  shape.  Animals  seem  to  be  represented 
by  156,  157  (3,  3),  350,  349,  351  (4,  4).  The  independent  hand 
of  the  potter  is  seen  in  the  frequent  insertion  of  a  spout  which 
often  looks  like  the  reminiscence  of  a  reed  with  the  end  sliced  off 
and  thrust  into  a  gourd.  Spouts  are  rare  in  the  Cypriote  wheel- 
made  pottery.  The  same  plastic  (/'.  e.  modelling)  tendency  is  dis- 
played in  various  kinds  of  attachments.  One  that  looks  like  a 
shallow  cup  is  seen  on  several  pieces,  as  (i,  2),  196  (4,  4).  Knobs 
are  common  7  (i),  3  (2,  2).  Other  knobs  are  pierced  for  threading 
a  cord  by  which  a  small  vessel  may  be  slung.  Another  ornament 
is  less  plastic  and  follows  the  surface  as  relief.  Such  is  the  decora- 
tion resembling  chainwork,  3  (2,  2),  7  (i,  2).  Plaiting  was  not 
unlikely  the  parent  of  the  ornament.  Thumb-marks  made  on  the 
wet  clay  are  a  frequent  ornamental  device.  Nos.  9  and  n  are 
furnished  with  rivet-like  ornaments.  These  rivet-like  mouldings 
are  only  on  pieces  which  at  once  call  copper  caldrons  to  mind. 

*  Most  of  the  articles  of  serpentine  stone  (E.  H.  7)  accompanied  the 
Alambra  Potten-. 


10  CYPRIOTE  POTTERY. 

On  top  of  the  long  neck  of  255  (5,  4)  is  a  little  vase,  a  feature 
not  uncommon  in  the  Cypriote  pottery,  and  known  in  the  oldest 
pottery  of  Greece.  Extremely  common  in  the  pottery  of  Alambra 
is  the  bottle-shape,  252  (6,  5).  Like  the  alabastron  (E.  H.  6-5), 
they  are  all  furnished  with  a  wide  flat  disk  around  the  mouth. 
The  oinochoe  (pitcher  with  lip)  is  lacking  in  the  Alambra  pottery. 
Its  place  is  taken  by  the  gourd-like  vessel  with  spout,  or  one  with 
the  neck  sliced  off  diagonally. 

ENGRAVED  DECORATION.— The  most  striking  feature  of  the 
Alambra  pottery  is  that  its  surface  decoration  is  not  painted  but 
engraved  on  the  clay.  The  similar  rectilinear  decoration  elsewhere 
in  this  collection  is  applied  by  paint  and  brush  except  here  and  in 
the  pottery  of  Case  7.  Engraved  decoration  belongs  to  the  pot- 
tery of  uncivilized  nations.  Thus  the  so-called  pre-historic  pot- 
tery made  in  Northern  Europe  before  civilization  came  to  them 
from  the  Romans,  and  the  most  ancient  pottery  of  Italy  was;  en- 
graved. Hence  the  inference  that  this  is  the  oldest  Cypriote 
pottery  in  the  collection.  The  accompanying  terra-cottas,  1-4, 
are  the  rudest  in  the  collection.  The  engraved  lines  in  a  large 
proportion  of  cases,  but  only  where  the  red  or  black  clay  is  cov- 
ered with  red  or  black  paint,  are  filled  in  with  white  that  throws 
the  system  of  lines  into  relief.  Engraved  decoration  thus  whitened 
occurs  in  "  pre-historic  "  pottery  of  Troy  and  Switzerland.  Thus 
everything  points  to  great  age.  We  should  at  once  assign  this 
pottery  with  its  engraved  decoration  to  the  period  preceding  the 
invention  of  painted  decoration  in  Alambra,  were  it  not  that  most 
of  the  associated  terra-cottas  are  decorated  with  painted  lines. 

CHARACTER  OF  SURFACE  DECORATION.— It  is  recti- 
linear. Not  unfrequently  the  horizontal  band  is  employed,  being 
a  series  of  closely-drawn  parallels  girdling  neck  or  body ;  but  the 
decoration  consists  mostly  of  broken  parallels — short  parallel  lines 
grouped  into  various  simple  geometrical  patterns.  The  brilliant 
surface  gloss  seems  to  be  polish,  not  glaze. 

CLASS   IN   CASE   7. 

This  came  from  a  place  now  called  Agios  Paraskiva,  near  Ni- 
cosia. It  was  seldom  accompanied  by  other  pottery,  and  this, 
when  found,  was  that  in  Case  14,  with  painted  decoration,  whereas 
the  decoration  of  the  present  class  is  engraved  or  raised.  It  was 
also  accompanied  by  vases  in  shape  of  animals,  with  engraved  and 


CYPRIOTE   POTTERY.  H 

raised  decoration  of  the  same  character  as  this  of  Case  7,  Nos.  26, 
27  (16,  4),  5°  (16,  3),  79  C1;,  3).  by  terra-cotta  statuettes,  by  shell- 
shaped  lamps,  and  by  articles  in  bronze.  It  is  hand-made  and 
rude — the  rudest  pottery  in  the  collection.  The  clay  is  of  a  dirty 
earthen  color,  and  the  wash  of  brown,  badly  applied,  easily  peels 
off.  In  shape  and  decoration  it  has  on  the  whole  a  likeness  to  the 
Alambra,  but  a  second  glance  will  show  distinct  differences. 
The  bottoms  are  round,  or  if  flat,  have  no  bases.  Now  and  then 
an  egg-shaped  bottom  ends  in  a  button.  Several  of  the  mouths, 
unlike  the  Alambra  vessels,  are  furnished  with  a  lip. 

DECORATION. — This  is  sometimes  raised,  sometimes  engraved. 
The  engraved  differs  from  the  Alambra  in  the  patterns  into  which 
the  short  parallels  are  combined.  The  raised  is  more  widely  em- 
ployed than  in  the  pottery  of  Alambra,  and  in  character  is  very 
different. 

BLACK  WARE.    (CASE   8.) 

This,  with  the  following  white  ware,  and  that  in  Cases  12  and 
13,  are  to  be  classed  together,  for  they  were  together  in  graves, 
were  accompanied  by  the  same  kind  of  terra-cotta  statuettes,*  and 
in  shape  the  present  class  resembles  strongly  the  following  white 
ware.  The  clay  is  of  a  dark  gray,  grown  still  darker  in  the  firing, 
very  fine  and  very  hard,  and  uncoated  with  paint.  In  decoration  it 
falls  into  two  classes,  as  paint  has  or  has  not  been  used,  (a.}  The 
paint  is  always  white,  and  the  decoration  consists  of  well-separated 
bands  of  three  or  four  lines  running  down,  around,  or  across  the 
body  or  neck  of  the  vase.  (£.)  Vases  without  paint  are  undeco- 
rated,  or  have  raised  lines  of  two  or  three  straight  verticals  or 
belts.  A  marked  pattern  is  on  1246  (i)  and  1247  (5).  Nos.  1331 
and  1421  (3)  are  in  every  respect  exactly  like  vases  found  in  Egypt. 
No.  63  (C.  H.  XXXIV),  in  the  Drexel  Collection  of  Egyptian 
Antiquities,  is  in  every  respect  of  this  class.  Only  a  few  specimens 
of  this  black  ware  (Case  8)  are  exhibited. 

RED   CLAY  WARE.     (CASE   8.) 

This,  of  which  only  a  few  specimens  are  exhibited,  is  of  the 
same  class  as  the  foregoing  black,  being  found  with  it  in  the  same 

*  Nos.  10,  13,  15,  14,  17  (E.  H.  21,  5). 


12  CYPRIOTE   POTTERY. 

graves,  and  its  two  shapes  recurring  in  the  black  ware.  The 
tapering  shape  has  been  found  in  Egypt,  and  of  the  same  color  of 
clay. 

WHITE  WARE,  BLACK  PAINT.     (CASES  9-11.) 

It  was  nearly  all  got  out  of  graves  at  Maroni,  the  ancient 
Marium,  not  far  from  the  Phoenician  Amathus.  It  was  accom- 
panied by  the  foregoing  black  and  red  pottery  in  Case  8,  and  by 
the  next  following  in  Cases  12  and  13.  All  three  were  found  with 
terra-cottas  10,  13,  15,  14,  17,  and  with  the  Assyrian  cylinders 
figured  in  Cesnola's  "Cyprus"  plates,  31-33,  which  have  been 
pronounced  by  Mr.  C.  W.  King,  of  Cambridge,  Cypriote  imitations 
of  Assyrian  seals.  The  clay  is  hard,  gritty  and  rather  brittle,  and 
is  always  coated  with  a  white,  smooth,  hard  wash.  It  is  all  made 
by  hand.  The  bottoms  are  flat,  and  usually  provided  with  a  rim. 
The  rectilinear  decoration  is  very  different  from  that  of  the  other 
potter}'  of  the  collection.  It  looks  as  if  the  vase  were  suspended 
in  a  slight  and  open  framework  of  strips  of  cloth.  In  an  open 
space  is  not  unfrequently  placed  some  small  single  figure,  such  as 
a  star.  There  is  a  striking  likeness  of  shape  in  this  white  to  the 
foregoing  black  ware.  Common  to  both  are  three  prevailing 
forms. 

WHEEL-MADE  POTTERY.    (CASES  12-13.) 

It  was  found  mostly  at  Maroni — No.  994  (12,  2)  at  Amathus, 
993  (J9> 2)  at  Agios  Paraskiva.  It  was  in  the  company  of  the  fore- 
going white  class,  and  with  it,  beside  the  terra-cottas  mentioned, 
were  5  and  7  (21,  4),  and  a  number  of  animal-shaped  vases,  as 
24  (16,  4),  22  and  25  (16,  5),  23  (17,  3),  n  (17,  4).  In  decoration 
and  shape  it  falls  into  two  groups,  one  in  12,  the  other  in  13. 
The  shapes  of  12  are  much  more  like  those  of  the  rest  of  the 
hand-made  pottery.  So  also  in  decoration,  which  is  rectilinear 
and  like  the  other  rectilinear  decoration  of  the  collection.  The 
decoration  of  13  is  largely  curvilinear,  and  in  other  respects  stands 
alone  in  the  whole  collection.  A  striking  shape  is  common  to  12 
and  13,  but  more  frequent  in  13 — 1167  (12,  4),  1007  (13,  4).  It 
was  not  found  by  General  Di  Cesnola  elsewhere  in  the  island,  and 
was  till  recently  unknown  in  the  pottery  of  the  Mediterranean 
nations.  It  was  found  by  Dr.  Schliemann  in  Mycenae.  The  like- 


CYPRIOTE    POTTERY.  13 

ness  of  the  class  in  13,  which  in  shape  and  decoration  stands  apart 
from  the  rest  of  the  collection,  to  the  pottery  of  Mycenae,  is  un- 
mistakable in  (a)  the  shape  just  mentioned,  (b)  many  decorative 
"  motives." 

The  most  important  pieces  are  993  and  994  for  their  pictures 
of  living  beings,  inasmuch  as  early  pottery  is  very  rarely  decorated 
with  animate  figures.'  They  are  extremely  rude  representations 
of  men  and  two-horse  chariots.  The  men  are  painted  without 
arms,  their  bodies  and  the  chariots  are  shaded  with  dots,  the  bodies 
of  the  horses  are  painted  solid  without  anatomical  distinction  of 
parts  as  in  the  "  Asiatic  "  and  black-figured  vases  of  Greece.  On 
993  is  a  rude  female  figure  with  uplifted  arms.  It  is  probably  an 
idol  and  resembles  the  Greek  xoanon,  in  its  earliest  form  a  log 
of  wood  furnished  with  head,  arms,  feet,  and  attributes.  The 
horses  have  the  spun-out  bodies  so  well  known  in  the  earliest 
Greek  pottery. 

CLASS  IN  CASES  14-15. 

It  was  found  chiefly  at  Agios  Paraskiva,  whence  also  the  pot- 
tery in  Case  7  came,  and  now  and  then  the  two  were  together  in  the 
same  grave.  With  the  present  class  were  found  most  of  the  ani- 
mal-shaped vases  (15-17),  most  of  the  open  shell-shaped  lamps, 
most  of  the  Oriental-looking  terra-cotta  statuettes,  e.g.  21,  20,  22, 
51,  56,  72,  89  (21,  6),  18,  19,  32,  35,  38  (20,  6),  69,  70,  71,  73,  77 
(21,  4),  and  most  of  the  masks  (21-20,  2) — in  short,  nearly  all  of 
the  best  and  least  primitive  of  the  non-Greek  terra-cottas.  The 
clay  is  soft  and  crumbling,  and  the  paint  leaves  it  readily.  Just 
as  the  black  ware  in  8  and  the  white  in  9-1 1  were  alike  in  shape, 
so  do  the  Alambra  that  in  Case  7  and  the  present  class  resemble 
one  another  and  differ  from  the  other  two  in  variety  of  shapes, 
lack  of  flat  base  or  base  with  ring,  in  spouts,  queer  attachments, 
perforated  knobs,  and  in  decoration.  Nos.  652  (15,  3)  and  664 
(15,  2)  according  to  the  conjecture  of  their  discoverer,  were  put  to 
a  very  interesting  use  as  the  milk-bottles  of  the  babies  of  ancient 
Cyprus.  992,  988  (15,  2b),  with  head  like  an  owl  and  little  balls 
within,  were  the  babies'  rattles  no  doubt. 

ANIMAL-SHAPED  VASES.     (CASES  15-17.) 

These  are  all  small.  They  were  not  found  at  one  place  but  ac- 
companied the  foregoing  classes  of  pottery,-  as  clay  and  decora- 


14  CYPRIOTE   POTTERY. 

tion  will  show.  Beside  the  decoration  familiar  to  us  on  the  other 
pottery,  the  present  class  employs  representations  of  animals  (a) 
modelled  fully  in  the  round,  or  (&)  surface  decoration  either  in 
relief  or  painted.  Thus  on  the  bird  7  (17,  4)  is  painted  a  peacock, 
on  the  bird  5  (17,  4)  is  painted  a  fish,  and  on  each  side  of  the 
doubtful  bird  or  beast  12  (17,  2)  is  moulded  in  relief  a  row  of 
little  quadrupeds.  None  of  the  other  hand-made  pottery  has  deco- 
rations of  animals. 


REVIEW  OF  THE  HAND-MADE  POTTERY. 

SHAPE.— ( i.)  Round  bottom.  (2.)  Globular  shape.  (3.)  The 
bottle-shape  with  neck  quite  as  long  as  the  round  body  is  a  strongly 
marked  feature,  much  less  prominent  in  the  wheel-made. 

DECORATION.— (i.)  Plastic  decoration.  (2.)  Decoration  often 
covers  the  whole  vase.  (3.)  No  animal  and  vegetal  decoration. 
(4.)  Great  infrequence  of  curved  lines. 

BLACK  FLUTED  WARE.     (CASE  17.) 

It  accompanied  the  following  class  "  with  Belts  and  Concentric 
Circles."  The  clay  is  soft  and  of  pale  earthen  color.  With 
scarcely  an  exception  the  outside  is  entirely  covered  with  a  dull 
black  wash  undecorated  by  designs.  The  two  most  common 
shapes,  as  in  all  of  the  wheel-made  Pottery,  are  (a)  the  oinochoe 
(using  the  Greek  name  for  pitcher),  as  1825  (17,  3)  ;  (H)  a  vase, 
as  1721  (17,  5)  with  wide  mouth  and  two  vertical  handles  from 
body  to  brim.  This  class,  to  a  much  greater  extent  than  any 
other,  has  legs  and  feet.  1708  (i)  is  in  shape  the  Greek  amphora. 
The  ornament  is  seldom  other  than  rough  flutings  on  the  body. 

RED  WARE.    (CASE  18.) 

It  came  mostly  from  the  Phoenician  cities  of  Amathus  and 
Citium,  and  since  one  of  this  class  No.  76  (E.  H.  F)  has  a  Phoeni- 
cian inscription,  these  vases  are  to  be  pronounced  Phoenician.  The 
clay  of  pale  yellow  or  pink  has  usually  a  coating  of  thick  red  paint. 
There  is  no  decoration  of  lines  except  that,  in  some  cases  on  the 
neck  near  the  head,  are  thin  horizontal  painted  rings  made  by  the 


CYPRIOTE   POTTERY.  15 

wheel.  There  are  two  shapes  only — the  bottle  and  the  oinochoe. 
The  mouth  of  the  bottles  is  surrounded  by  a  wide,  flatly  curving 
brim,  something  like  that  of  the  alabastron. 


VASES  WITH  BELTS  AND  CONCENTRIC  CIRCLES. 
(19-34,  A-E,  AND  MOST  OF  1-35, 1.) 

It  was  found  in  various  parts  of  the  island,  but  chiefly  at  Ida- 
Hum  and  a  place  now  called  Ormidia.  Its  technical  character  is 
excellent — the  clay  well  mixed  and  well  baked,  the  paint  firm  and 
not  yielding  to  diluted  muriatic  acid,  and  its  decorative  designs 
are  drawn  with  freedom  and  precision. 

SHAPES. — Nearly  all  may  be  reduced  to  the  following  categories. 
(i.)  Jar,  as  A-E,  with  two  opposite  horizontal  handles  on  the 
shoulders,  wide  neck  and  mouth.  The  height  ranges  from  3  ft.  to 
toys  of  less  than  3  in.  They  were  no  doubt  used  for  storing  pro- 
visions both  solid  and  liquid,  like  our  boxes  and  barrels.  Some 
of  middling  size  were  used  for  carrying  water  from  the  well  on  the 
head,  as  is  done  to  this  day  on  many  a  coast  of  the  Mediterranean. 
(2.)  As  3817  (19,  i).  It  has  a  wider  mouth,  a  shorter  neck,  and 
lower,  thicker  set  body  than  the  Jar  (i),  two  vertical  opposite 
handles  from  the  body  to  a  level  with  the  brim.  (3.)  Oinochoe,  as  39 1  o 
(21,  2),  (Greek  pitcher  shape)  jug  with  hanging  lip.  The  neck  is 
very  narrow,  like  the  early  Greek  oinochoai.  There  are  two  shapes, 
one  with  globular  body,  the  other  with  pear-shaped  body  and  no 
neck.  (4.)  Bottle,  used  probably  for  holding  ointment,  as  3024 
(19,  3);  globular  body,  narrow  short  neck;  wide  flat  brim  about 
the  mouth  ;  one  handle  joins  the  body  with  the  base  of  the  neck ; 
a  little  vase  usually  4-6  inches  high.  It  corresponds  to  the  Greek 
vase  identified  as  the  ancient  aryballos.  A  variety  has  two  oppo- 
site vertical  handles,  and  is  often  round-bottomed.  Shapes  1-4 
are  very  seldom  furnished  with  leg  and  foot.  (5.)  Cup,  with  one 
vertical  handle  rising  to  the  brim,  3579  (25,  3),  or  two  opposite 
horizontal  handles  below  the  brim,  4446  (27,  3).  They  are  often 
lifted  on  leg  and  foot.  The  larger  pieces  may  have  been  bowls. 
(6.)  Plates,  or  shallow  bowls  of  various  degrees  of  flatness  ;  at  the 
top  of  19-34  and  in  A-E.  Some  have  two  horizontal  handles, 
others  no  handles.  (7.)  Barrel-shaped  Jugs  like  3095  (28,  i),  a 
shape  it  is  believed  peculiar  to  Cyprus.  The  neck  and  handle  are 


l6  CYPRIOTE   POTTERY. 

those  of  the  Bottle  above.  (8.)  Hydria,  (Greek  name  of  corre- 
sponding shape)  as  3302  (35,  i).  The  high  body  and  two  horizon- 
tal handles  are  like  the  Jar  above,  the  neck  with  the  third  and 
vertical  handle  is  like  the  Bottle.  A  variety,  3306  (25,  i),  drops 
the  two  horizontal  handles. 

DECORATION  OF  BELTS  — The  horizontal  bands  can  be  made 
by  the  wheel  with  so  much  ease  and  of  such  breadth  that,  where 
any  decoration  occurs,  it  is  by  far  the  most  prominent  and  almost 
never-failing  decoration  of  the  wheel-made  pottery.  They  have 
banished  the  rectilinear  decoration  to  certain  well-defined  quar- 
ters on  the  larger  vases,  and  on  the  smaller  have  often  completely 
suppressed  it.  The  belts  are  in  character  also,  for  they  accent  the 
shape  of  the  vase  and  are  structural ;  they  mark  the  stages  of  ver- 
tical growth  and  the  variations  of  horizontal  dimension.  The  belts 
are  never  placed  in  close  series  from  top  to  bottom,  as  in  the 
earliest  Greek  pottery.  The  usual  order  is  three  belts  or  sets  of 
belts.  Very  common  are  vertical  bands,  as  on  the  oinochoai  (19- 
21) ;  but  they  occur  only  on  vases  with  globular  bodies,  namely, 
oinochoai  and  bottles,  and  are  always  parallel  with  the  handle. 
Some  of  these  globular  vases  have  horizontal  bands,  others  ver- 
tical, and  others  combine  the  two  kinds.  The  horizontal  bands 
crossing  the  vertical  are,  with  scarcely  an  exception,  at  the  top  of 
the  body  only. 

RECTILINEAR  DECORATION. — Position.  Since  the  belts  form  the 
groundwork,  the  other  is  necessarily  confined  to  the  zones  between 
the  belts,  and  is  employed  only  on  the  upper  part  of  the  vase — 
the  shoulders  and  neck,  probably  for  convenience'  sake.  On  small 
vases,  where  it  would  be  crowded,  the  zones  commonly  are  free  of 
it,  and  it  is  frequently  omitted  on  the  larger  vases.  Character.  Its 
short,  straight  lines  are  not  continuously  arranged,  as  in  the  hand- 
made pottery,  but  enclosed  in  figures  are  placed  at  intervals  in  the 
zones.  These  figures  are  triangles,  parallelograms,  and  diamonds. 
The  first  two  may  be  placed  at  intervals  in  the  zones,  joining  an 
upper  or  lower  belt,  but  the  diamond  is  used  continuously  to  fill 
up  another  figure.  All  three  are  filled  by  hatched  lines  or  chequer- 
work,  or  smaller  diamonds.  A  long  zigzag  often  fills  a  narrow 
parallelogram.  When  the  parallelogram  is  large  it  is  often  filled 
by  a  big  diamond,  or  by  a  cross  with  the  arms  in  the  corners,  as 
3104  (A,  3).  The  circular  compartment  in  the  centre  of  a  plate 
is  often  filled  by  the  shape  of  the  Maltese  cross.  To  sum  up — 


CYPRIOTE   POTTERY.  17- 

the  rectilinear  decoration  of  the  wheel-made  pottery  differs  from 
that  of  the  hand-made  in  that  (a),  it  is  strictly  confined  to  framed- 
in  spaces ;  (£),  it  is  not  allowed  to  hang  within  that  space,  but 
must  touch  its  boundaries.  Simplicity,  clearness,  and  regularity 
make  up  its  character. 

CURVILINEAR  DECORATION. — This  is  geometrical  and  not  taken 
from  the  vegetal  world.  Pictures  of  flowers  and  leaves  are  dis- 
cussed, p.  19.  (i.)  An  undulating  line,  3151  (2,  i).  (2.)  Concentric 
circles.  (3.)  A  looped  border  to  a  straight  line,  3104  (A,  3).  (4.) 
Like  half  a  section  of  a  bulb,  as  the  onion,  placed  in  the  corners 
of  a  square  parallelogram,  or  on  the  opposite  sides  of  a  long  high 
one,  4456,  4460  (26,  3).  (5.)  A  line  filled  solidly  with  black  swells 
up  into  a  single  wave  along  a  boundary,  as  in  B.  (6.)  Guillochey 
so  common  in  Assyrian  decoration,  not  found  at  all  in  the  hand- 
made pottery,  is  rare  in  this  wheel-made,  occurring  on  only  nine 
pieces— 4638  (E,  2),  4738  (29,  2),  4096,  3797  (31,  2),  etc.  in  31. 
All  but  4647"  (31,  4)  are  of  the  very  large  cream-colored  group  of 
the  present  class,  which  came  mostly  from  Ormidia  (see  p.  18). 
(7.)  Rosette,  extremely  common  on  the  Assyrian  reliefs,  is  in  this 
collection  found  very  rarely  and  only  in  the  hand-made  potter}',  in 
ten  cases— 4730  (28,  3),  4661  (30,  4),  4139%  4139  (31,  3),  4096, 
3797  (3J»  2),  4636  (E,  2),  4735,  4736  (29,  2),  4378  (31,  2).  (8.)  Not 
infrequent  is  a  series  of  concentric  hooks  hanging  from  an  upper 
line,  4138  (31,  4).  (9.)  Row  of  disks,  twice  occurring,  dark  in 
4i39n  (31*  4),  white  on  dark  ground  in  3744  (D,  3). 

STNGLE  MARKS. — Free,  wandering  marks  that  may  be  dropped 
into  any  vacant  space.  In  32  are  a  number  of  vases,  most  of 
which  have  these  marks  for  their  sole  decoration.  Common  in  the 
wheel-made,  they  occur  in  only  one  class  of  hand-made  pottery — 
the  white  ware  (9-11) — which,  however,  has  a  different  set  of 
marks.  Thus  it  has  not  the  cross  with  bent  and  equal  legs,  4036 
(B,  3),  a  name  for  which,  as  suastika,  has  been  popularized  by 
Dr.  Schliemann. 

CONCENTRIC  CIRCLES  (see  Cases  19,  20)  are  a  very  prominent 
feature  of  the  Cypriote  pottery.  They  were  not  employed  in  the 
hand-made  pottery  except  the  Alambra,  nor  in  the  wheel-made 
(12-13),  so  like  the  Mycenaean.  They  are  commonly  arranged  in 
rows  in  the  zones,  but  they  are  also  placed  in  compartments, 
2981  (C,  3),  very  rarely  to  fill  up  some  unframed  space,  4639  (E,  3). 
Concentric  circles  are  a  frequent  decorative  "  motive  "  in  the  early 


1 8  CYPRIOTE   POTTERY. 

remains  of  Europe.  A  glance  will  show  that  they  were  not  made 
by  free-hand  drawing,  but  by  means  of  the  wheel  or  with  the 
compasses.  A  central  puncture  can  be  detected  by  eye  and 
finger-nail. 

PAINT. — Black  of  various  shades  is  the  rule;  red  is  less  fre- 
quent and  occurs  never  alone,  and  then  the  accompanying  black 
usually  prevails.  Blue  is  entirely  absent  in  this  collection.  Green 
is  found  on  a  few  pieces  (33-34^  but  not  of  the  present  class. 


CREAM-COLORED   WARE. 
(CASES  19-21;   25-32;   A-E;   1-35,1.) 

The  color  approximately  called  cream  is  often  the  color  of  the 
clay,  but  at  other  times  seems  to  be  a  very  thin  wash  of  earth  ;  the 
clay,  in  that  case,  being  of  a  somewhat  darker  and  pinkish  hue. 
The  pattern  on  the  sides  of  3880,  3889  (21,  2\  3888,  3886  (21,  5), 
and  4275  (26,  5),  all  oinochoai,  is  not  a  group  of  large  concentric 
circles,  but  is  in  reality  one  long  spiral.  A  vase  in  the  British 
Museum  from  Melos,  with  concentric  circles,  is  almost  the  counter- 
part of  4275,  and  has  the  same  great  spiral.  Two  rings  with 
central  dot  are  often  painted  on  the  head  of  an  oinochoe  for  its 
eyes.  The  plates  on  the  wall  of  25  are  not  dishes,  but  lids.  No. 
70  (E.  H.  F.),  bearing  a  Phoenician  inscription,  is  of  the  present 
class. 

RED  WARE.    (CASES   22-24.) 

Case  23  is  from  the  ancient  Idalium,  24  from  the  ancient  Curium 
and  Amathus,  22  is  of  both  kinds.  The  clay  of  the  Idalium  is  of 
extremely  hard  and  fine  grain,  and  of  bright  red  color,  which  is 
left  without  a  coating  of  paint.  The  black  paint  is  firm,  and  does 
not  yield  to  muriatic  acid.  The  clay  of  the  Curium  and  Ama- 
thus ware  seems  to  have  been  badly  fired  and  softened  by  the 
dampness  of  the  soil.  It  is  of  a  dirty  reddish-brown  yellow, 
coated  with  red  paint,  which,  with  the  black  paint  of  the  designs, 
washes  off  in  water.  The  oinochoai  of  the  two  classes  shww  dif- 
ference in  shaoe.  With  one  or  two  executions  for  the  Curium,  this 
red  ware  has  no  rectilinear  decoration  of  short  lines.  The  deco- 
ration consists  of  belts  or  belts  and  concentric  circles.  Only  cer- 
tain few  "  single  marks  "  occur. 


CYPRIOTE   POTTERY.  19 

VEGETAL  AND   ANIMAL   DECORATION. 
(28-31  AND  E.) 

These  vases  belong  mostly  to  the  cream-colored  class  with  belts 
and  concentric  circles  from  Ormidia. 

VEGETAL. — This  is  either  the  lotus  or  spike-like  grasses.  The 
lotus  is  painted  red,  without  leaves ;  the  grasses  are  in  .black. 
The  lotus  is  applied  (a)  in  long  rows  girdling  the  vase,  which  is 
always  a  jar,  or  a  bowl  with  vertical  sides  on  leg  and  foot,  in  alter- 
nating buds  and  half-open  flowers ;  or  (b)  in  fully-opened  single 
flowers  without  stems,  placed  in  compartments ;  (c)  accompanying 
a  water-fowl,  it  is  often  on  a  stem  with  buds.  Frequently  the  front 
petal  is  left  unpainted,  and  filled  with  black  hatched  lines  or 
chequer-work.  Also  the  stem  of  the  flower  is  filled  with  horizontal 
lines;  4726  (28,  4)  has  two  trees. 

MEN.— Nos.  4791  (28,  2),  4794  (28,  3),  4796  (28, 3),  4797  (28,3), 
4792  (28,  3),  3487  (35,  3),  and  in  the  Curium  Treasure  (F,  2),  4793, 
4795.  The  merit  of  the  drawing  varies  greatly,  from  the  hideous 
creature  on  the  back  of  the  strange  horse  on  4791,  to  the  respect- 
able piece  of  work  on  4795 — a  winged  pig  with  a  human  head — • 
done  by  one  who  had  learned  the  drawing  of  his  time  and  place, 
while  the  figures  on  3487  are  mere  scratches.  Sometimes  the 
whole  figure  is  painted  solid,  as  4797,  a  silhouette ;  or  regions  are 
distinguished  by  color,  as  in  4794 — hair  black,  dress  red,  face  the 
unpainted  color  of  the  clay;  or  as  in  4791,  where  the  body  of  the 
man  is  shaded  by  horizontal  parallels  like  the  neck  of  his  horse 
and  flower-stems  on  other  vases. 

ANIMALS. — Birds  are  the  favorites,  and  these  seem  to  be,  with 
hardly  an  exception,  waterfowl — geese  and  possibly  swans.  On 
four  vases  are  fish,  on  4723  (28,  4)  two  snakes  upright.  Quadru- 
peds are  the  horse,  antelope,  deer,  and  ass  (?).  The  departure 
from  nature  is  from  lack  of  desire  rather  than  inability  to  imitate, 
for  as  a  rule  the  design  is  drawn  with  freedom.  Usually  the 
animals  are  not  in  repose,  but  have  an  excited  air.  The  animals, 
like  the  flowers  and  the  men,  are  painted  solid  in  black  or  with 
certain  parts  filled  by  sets  of  short,  straight  lines.  It  is  better  to 
regard  this  geometrical  treatment  as  the  impetus  still  partially 
retained  from  generations  of  rectilinear  decoration  than  as  an  indi- 
cation by  shading  of  the  sketchily  outlined  bodies.  Later,  as  in 


2O  CYPRIOTE   POTTERY. 

the  great  vase  of  the  Curium  Treasure  4789  (F),  the  bodies  of 
animals  are  painted  solid ;  and  later  still,  as  in  the  black-figured 
vases  of  the  same  Treasure,  the  divisions  of  muscles,  etc.,  are 
indicated  by  lines  engraved  on  the  uniform  body  of  color.  There 
are  only  two  instances  of  a  row  of  repetitions  so  frequent  in  early 
Greek  pottery,  4761  (28,  2)  and  4721  (29,  3).  There  a?e  five  vases 
with  the  decorative  motive  of  two  identical  living  beings  flanking 
a  central  object  which  seems  to  engage  their  attention,  4731  (28,  4), 
4794,  473°  (28>  3).  4749  (29»  3>>  4785  (E>  0-  It  is  probably  the 
Shemitic  "sacred  tree"  (commonly  called  Assyrian),  with  its 
adorers,  no  longer  a  religious  symbol  but  a  pattern,  and  as  such 
it  passed  into  the  Western  world  of  Greece.  It  is  found  elsewhere 
in  this  Cypriote  collection  in  its  original  condition  and  form,  on 
the  gems  and  paterae.  Three  of  these  vases  came  from  the  Phoe- 
nician cities,  Amathus  4731,  and  Kition  4794,  4730.  Nos.  4765, 
4767,  4764  (29,  5),  have  birds  with  legs  proceeding  from  the  breast. 


CASE  32. 

On  the  top  shelf  is  a  row  of  jugs,  each  having  a  spout  fur- 
nished with  a  strainer.  Most  of  the  vases  have  "  single  marks  " 
without  other  decoration. 

CASES  33-34. 

On  Shelf  5  are  the  only  instances  of  green  paint  in  the  collection 
of  pottery  together  with  4603"  (35,  4).  Gieen,  however,  is  plenti- 
fully employed  on  the  sarcophagus  of  Amathus  (E.  H.  A.).  On 
4  are  jugs,  each  with  a  spout,  on  e,ach  side  of  which  are  painted 
eyes,  thus  turning  it  into  a  nose.  So  2747  (F,  2).  On  3  and  2b 
are  little  vases  of  black  clay,  undecorated,  and  of  shapes  already 
familiar,  as  in  Case  23  of  Idalium  ware.  These  came  from  the 
same  place.  The  shapes  1647,  I^s8  (2b),  are  not  found  elsewhere 
in  the  pottery,  but  1647  recurs  in  the  collection  of  bronzes.  On  2 
is  a  set  of  jugs  ornamented  with  the  head  of  a  cow,  modelled  in 
the  round  on  the  shoulder.  4859''  (34,  4)  is  a  chariot,  and  4859*  a 
wheel.  They  have  the  rectilinear  decoration  of  the  wheel-made 
pottery  with  belts.  2283b  (3)  is  curious.  The  ring  forms  the 
vessel,  the  liquid  is  poured  into  it  by  the  cups,  while  the  cow's 
head  is  the  spout. 


CYPRIOTE   POTTERY.  21 

CASE  35. 

4859°  (5)  is  a  shield,  the  handle  on  the  other  side.  On  5, 
against  the  wall,  are  colenders.  The  white  incrustation  on  the 
biggest  proved  on  chemical  analysis  to  be  milk.  2092  (5)  is  a  lid. 
2000  (5)  is  the  dwarf  of  a  number  of  large  pieces,  four  of  which 
bear  Phoenician  inscriptions.  This,  therefore,  is  to  be  considered 
Phoenician.  No.  4585  (4)  is  important.  A  shallow  bowl  on  three 
legs,  which  are  bearded  heads  with  strongly  Semitic  features — 
hence  a  Phoenician  bowl.  Nos.  5501  and  5501"  are  interesting 
from  the  female  faces  modelled  in  the  round.  The  features  of 
5501"  are  certainly  Greek.  The  oinochoai,  4603",  46o3b  (4),  have 
decorations,  each  unique  in  the  collection.  They  were  found  at 
Citium.  Stands  for  vases  without  base,  are  3487  (3)  and  six 
pieces  on  2.  Terra-cotta  stands  have  been  found  in  archaic  Greek 
pottery,  but  not  in  that  of  the  classic  age,  and  the  present  stands 
are  archaic.  In  later  times  they  seem  to  have  been  made  of  metal. 
4859,  4859"  (2b)  are  probably  little  models  of  crests  of  helmets. 
Nos.  5506,  5507  (2)  are  cheap  alabastra  of  clay,  of  the  shape  of 
those  in  the  finer  alabaster  stone  (E.  H-4-6).  2283  is  curious.  The 
ring  is  only  a  stand  for  the  figures,  and  is  not  a  vessel  like  2283b 
(34,  2).  The  shapes  and  decorations  of  the  little  vases  on  the 
ring  are  those  of  the  cream-colored  and  the  red  ware  (18-24). 
One  of  the  figures  on  the  ring  is  a  musician  playing  on  the  harp. 
Perhaps  this  was  a  little  flower-stand. 

The  pottery  in  36-38  is  of  quite  another  class  than  the  fore- 
going, being  Greek  and  Roman.  It  will  be  considered  after  the 
native  Cypriote  styles  in  the  Treasure  of  Curium. 

TREASURE   OF   CURIUM  (F). 

These  vases  and  statuettes  were  found  in  one  of  the  safety 
vaults  for  the  treasure  of  a  temple  at  Curium  (see  Hand-Book  to 
Jewellery  and  Glass)  with  fourteen  alabaster  vases,  two  bronze 
lamps  and  three  bronze  fibulas.  This  collection  of  pottery  is  very 
interesting,  for,  on  the  one  hand,  it  has  more  than  one  piece  to 
show  that  is  a  novelty  in  the  Cesnola  collection,  and  on  the 
other  hand  the  best  specimens  of  a  class  are  often  here.  The 
offerings  of  worshippers  to  the  gods  were  better  than  their  gifts  to 
dead  friends,  and  the  priests  very  likely  stored  in  these  vaults  the 


22  CYPRIOTE   POTTERY. 

best  pieces  from  the  offerings.  Thus  1257',  i257h  (i)  are  of  the 
black  ware  (Case  8),  but  larger  than  any  dug  up  from  graves.  So 
also  there  are  four  rings  holding  little  vases,  while  only  one  was 
found  outside  of  the  Treasure.  2288"  (35,  2).  So  also  with  the 
high-necked  vases,  on  the  shoulder  of  which  sits  or  stands  a  woman 
holding  in  her  hand  a  jug.  which  forms  the  spout  of  the  vase.  Of 
these  there  are  fifteen  in  the  Curium  Treasure  and  only  one  out- 
side, 2744  (34,  2  j.  It  is  an  extremely  rare  kind  of  vase.  Discus- 
sion of  the  statuettes  on  these  vases  and  the  others  in  F  is  reserved 
to  the  chapter  on  the  Terra-cottas.  These  vases  are  probably  of 
Curium  make,  on  account  of  clay,  coating  of  paint,  black  paint  of 
designs,  belts,  and  concentric  circles.  Compare  especially  2422 
(i)  with  the  Curium  pottery  (24*.  They  differ  from  all  in  24, 
in  shape  and  decoration  of  leaves,  which  latter  is  like  that  of 
4977  (36*  2),  etc.,  found  in  Greek  graves  of  late  date.  The  present 
vases  seem  to  have  continued  well  into  the  classic  period  of  Greek 
pottery,  as  shown  by  2743  (F,  i).  The  female  figure  in  attitude, 
features,  and  drapery  is  excellent,  all  but  the  hand  that  holds  the 
little  jug,  which  seems  to  be  the  bungling  work  of  the  workman 
who  fastened  the  statuette  to  the  vase.  2426,  2427  (Pyram.  i), 
3878  (i)  were  probably  intended  as  curiosities.  Filled  by  the 
bottom,  and  with  no  stopper  used,  the  water  will  not  flow  out. 
The  hole  in  the  bottom  is  prolonged  by  a  tube  into  the  centre  of 
the  vase.  The  two  plates  (F,  i)  of  the  usual  Curium  red  ware  in 
24  are  noteworthy,  for  here  again  the  best  specimens  of  a  kind  are 
in  the  Treasure.  They  are  the  only  instances  in  the  collection  of 
plates  with  concentric  circles.  2927,  2925  (Pyram.  2)  with  no 
coating  of  paint  and  no  design  are  probably  Greek.  There  is  a 
fragment  of  a  Greek  red-figured  vase,  and  several  Greek  black- 
figured  vases,  which  are  discussed  later  (pp.  27-30).  To  sum  up. 
The  pottery  of  the  Treasure  of  Curium  has  two  pieces  of  hand- 
made pottery  of  the  class  in  8  ;  many  of  the  Cypriote  wheel-made, 
with  belts  and  concentric  circles  as  in  19-34,  both  red  and  cream- 
colored  ;  many  Greek  vases.  For  the  great  vase  4789,  4788  (F,  i), 
1215"  (F,  2),  see  page  24. 

NATIONALITY   OF  THESE    CLASSES   OF   POTTERY. 

As  shown  in  the  introduction  to  the  hand-book  of  the  Cypriote 
Sculptures,  the  question  of  nationality  is  not  yet  removed  from  the 


CYPRIOTE   POTTERY.  23 

field  of  dispute,  Phoenician  pottery  in  Phoenicia  proper  being  still 
unknown,  and  discoveries  being  made  every  year  as  to  the  nature 
of  primitive  Greek  art.  Hence  only  an  arrangement  of  data  is 
here  in  place.  '•'  Phoenician/'  as  used  in  the  present  section,  is 
ambiguous,  meaning  either  of  Phoenician  character  and  Phoenician 
manufacture,  or  of  Phoenician  character  but  made  by  Cypriote 
Greeks.  The  Greeks  of  Cyprus,  before  the  national  Greek  style  as 
displayed  in  the  classic  art  of  Greece  was  developed,  worked,  we 
have  every  reason  to  believe,  largely  in  imitation  of  their 
Phoenician  neighbors. 

The  terra-cottas  accompanying  the  hand-made  pottery  (14-15) 
have  a  decided  character,  for  they  are  by  no  means  rude  and  form- 
less. They  are  quite  like  Babylonian  figurines,  and  stamp  the 
associated  pottery  as  made  by  Phoenicians.  Rude  terra-cottas  of 
the  "  Cypriote  (or  Semitic)  Venus "  with  Assyrian  seals,  were 
found  with  the  white  ware  (9-11).  It  is  therefore  of  Phoenician 
manufacture,  especially  since  it  came  from  the  southern  coast 
between  Amathus  and  Citium.  The  Phoenician  inscription  on  a 
vase  of  the  red  ware  (18)  declares  the  class  Phoenician  in  manu- 
facture, especially  since  it  came  mostly  from  Citium  and  Amathus. 
The  wheel-made  pottery  (12-13)  was  often  found  associated  with 
the  hand-made  white  ware  (9—11)  pronounced  Phoenician,  but  with 
its  rude  terra-cotta,  7  (E.  H.  21,  4),  it  is  so  strikingly  like  the 
Mycenae  ware  discovered  by  Dr.  Schliemann,  that  it  might  be 
pronounced  Greek,  unless  it  should  turn  out  that  Mycenae  bor- 
rowed the  pottery  from  Phoenicians.  The  Alambra  pottery, 
which  from  the  engraving  of  its  decoration  we  might  be  tempted 
to  ascribe  to  a  pre-Phoenician  population,  was  accompanied  by 
images  of  the  "  Semitic  Venus."  No  idols  or  seals  of  Phoe- 
nician character  were  found  with  the  large  wheel-made  class, 
decorated  with  belts  and  concentric  circles  (19-32).  This 
would  point  away  from  the  East.  On  the  other  hand,  the 
single  Phoenician  inscription  in  this  class,  No.  70  (E.  H.  F.), 
returns  the  question  into  suspense.  The  same  class  (19-32)  has 
another  kind  of  decoration,  the  Vegetal.  The  early  Greek  vases 
have  none  whatever.  The  classic  Greek  pottery  has  as  decorative 
"  motives  "  arabesques  originally  drawn  from  nature.  The  imita- 
tions of  nature  in  the  present  class  are,  therefore,  probably  of 
Phoenician  origin,  for  they  are  not  found  on  the  early  Greek  pot- 
ten*,  but  on  the  other  hand  lilies  and  palms  appear  prominently 


24  CYPRIOTE   POTTERY. 

in  the  Phoenician  decoration  of  Solomon's  temple.  The  animal 
decoration  is  like  that  of  early  Greek  pottery  with  differences,  and 
is  decidedly  non-Asiatic,  for  the  Asiatic  animals,  lions  and  panthers 
and  fantastic  animals  of  Asiatic  mythology,  are  absent. 


VASES    OF    EARLIEST    GREEK    STYLE. 

The  following  group  of  Cypriote  vases  is  unmistakably  of  the 
same  class  as  the  early  Greek  vases  of  geometric  and  animal 
decoration,  1215  (28,5),  1214,  1213  (35,3),  1215"  (F,  2),  4788 
(F,  i),  4789  (F,  2).  The  great  vase  of  Curium,  4789,  shows  the 
characteristics  of  the  class  in  greatest  clearness  and  fullness, 
namely,  (i)  ground  not  coated  with  paint;  (2)  color  of  clay  pale 
brown,  paint  brown,  often  shining;  (3)  the  vase  is  covered  with 
decoration  from  bottom  to  top,  on  the  lower  half  with  belts  and 
concentric  circles,  on  the  upper  half  with  geometric  and  animal 
decoration ;  (4)  the  animals  are  horses,  deer  and  water-fowl,  no 
Asiatic  lions  and  panthers ;  (5)  the  animals  are  arranged  either 
uninterruptedly  in  girdling  rows  or  in  compartments,  these  com- 
partments extending  quite  around  the  vase ;  (6)  absence  of  vegetal 
decoration ;  (7)  surprising  persistence  in  filling  up  vacant  spaces ) 
intervals  between  the  geometrical  patterns  in  rows,  diamonds, 
discs,  etc.,  are  filled  up  by  pairs  of  dots  or  little  rings  ;  larger  va- 
cant spaces  between  and  about  the  animals  must  be  filled  in  with 
"  single  marks  "  or  with  smaller  animals ;  (8)  great  frequence  of 
chequer-work ;  (9)  great  frequence  of  girdling  rows  of  discs  or  con- 
centric circles,  joined  each  to  each  by  a  diagonal  line  from  the 
bottom  of  one  to  the  top  of  the  next;  (10)  no  curved  lines  except 
the  discs,  concentric  circles,  gores,  and  dots  employed  in  filling 
intervals;  (n)  great  frequency  of  the  meander;  (12)  rectilinear 
decoration  in  the  Cypriote  vases  of  this  class  is  not  used  as  in  the 
class  (19-32)  to  fill  compartments,  except  the  meander  and 
chequer- work,  but  is  confined  to  framing  the  vertical  sides  of  com- 
partments. This  vase,  4789,  has  a  shape  unique  in  the  collection, 
for  it  is  the  only  jar  on  a  high  foot,  and  the  only  vase  with  four 
handles.  The  lid  is  noteworthy  and  is  crowned  by  a  little  hydria. 
This  vase,  from  size  and  profusion  of  decoration,  is  one  of  the 
finest  specimens  of  its  class  that  is  known,  and  must  have  been 
a  magnificent  work  of  art  in  its  early  day.  A  set  of  three 


CYPRIOTE   POTTERY.  25 

partments  is  repeated  between  every  two  of  the  four  handles,  the 
middle  of  each  set  containing  a  high  fir-like  tree,  flanked  by  a  pair 
of  deer,  stag  and  hind,  browsing  on  the  tree.  As  this  decorative 
"  motive  "  is  probably  of  Asiatic  origin,  the  vase  may  be  assigned 
to  a  period  when  the  Asiatic  style  began  to  spread  through  Greek 
Potteries. 

There  are  several  differences  between  this  class  and  the  class 
with  belts  and  concentric  circles  (19-32^.  (i.)  The  shape  of  the 
bowls  with  two  horizontal  handles  is  that  of  the  early  Greek  kylix,  a 
shape  not  found  in  all  the  Cypriote  pottery  outside  of  this  group,  but 
very  common  in  the  early  Greek  pottery.  (2.)  The  girdling  row 
of  discs  and  of  the  concentric  circles  connected  by  diagonal 
lines,  is  unknown  in  the  collection  outside  of  this  group,  but  com- 
mon in  the  corresponding  early  Greek  class.  (3.)  The  meander, 
Nos.  1214,  1213  (35,  3),  is  equally  unknown  to  the  other  Cypriote, 
and  equally  familiar  to  the  corresponding  vases  of  Greece.  (4.) 
So  also  with  the  girdling  rows  of  animals,  an  exception  in  the 
Cypriote,  the  rule  in  the  Greek.  In  fine,  the  present  group  is 
precisely  like  a  large  class  of  vases  found  in  Greece  and  the 
^Egean  Isles. 


VASES     OF    THE    ASIATIC     CLASS     OF    GREEK 
POTTERY. 

Nos.  4751  (29,  5),  5490  (F,  Pyram.  2),  5491,  5493  (36,  2"),  com- 
pare 38  (C.  H.  XXXI).  These  vases  are  of  a  class  found  through- 
out Greece  and  Italy,  and  called  Asiatic  because  showing  Asiatic 
influence,  not  in  the  belief  that  they  were  imported  from  Asia  nor 
that  they  were  imitations  of  Asiatic  pottery.  It  is  believed  that 
the  painter  gradually  adopted  decorative  "  motives  "  which  had 
come  from  Asia,  probably  on  metal-work  and  embroideries  rather 
than  on  pottery,  for  vessels  of  clay  in  the  East  were  as  nothing 
compared  with  vessels  of  metal.  The  innovations  are  (a)  forms 
from  the  vegetal  world  well  on  the  way  to  becoming  mere  patterns, 
arabesques  in  short ;  (b)  animals  of  Asiatic  countries  and  Asiatic 
mythology.  They  are  of  the  class  that  has  been  named  Phoeni- 
cian, Egyptian,  Doric,  Corinthian.  As  none  of  the  Cypriote 
members  of  the  group  in  this  collection  are  so  complete  specimens 
of  the  Asiatic  class  of  Greek  Pottery  as  38  (C.  H.  XXXI)  from 


26  CYPRIOTE   POTTERY. 

Italy,  it  will  be  taken  as  the  model.  Characteristics,  (i)  Unglazed  ; 
(2)  The  ground  is  therefore  the  color  of  the  clay,  a  dull  lemon 
with  an  oily  look  ;  (3)  The  paint  is  dark  brown,  inclining  towards 
purple  when  more  strongly  fired.  The  paint  not  well  fixed  rubs 
off  easily ;  (4)  As  in  the  foregoing  pre-Asiatic  class  of  Greek  pot- 
tery, the  animals  are  in  rows  ;  (5)  The  animals  are  single  unrelated 
figures,  representing  no  scene ;  (6)  On  this  vase  are  swan,  panther, 
sphinx  and  harpy;  (7)  The  animals  are  no  longer  silhouettes,  but 
engraved  lines  mark  regions  ;  (8)  The  artist  has  striven  to  throw 
into  the  animals  movement  and  grace  ;  (9)  The  wings  of  the  fantas- 
tic animals  curve  boldly  at  the  tip  ;  (10)  The  field  is  thickly  studded 
with  rosettes  and  little  spots  for  the  larger  and  smaller  spaces. 
N.  B.  The  rosette  is  a  radiating  flower  viewed  from  above,  project- 
ed on  a  flat  surface.  In  this  Asiatic  class  it  is  not  fully  conven- 
tionalized, the  petals  not  being  of  geometrical  regularity,  as  with 
the  Assyrian  rosettes,  which  are  the  same  as  those  of  the  Cypriote 
vases  (Case  31). 

The  Asiatic  elements  are  (i)  the  character  of  the  animals,  (2) 
rosettes  in  place  of  geometrical  "single  marks,"  (3)  recurving  of 
monsters'  wings,  (4)  animals  face  to  face,  though  the  central  object 
is  removed,  (5)  The  movement  given  to  the  animals,  as  also  (6]  the 
increasedly  naturalistic  drawing  of  the  outlines,  with  the  marking  of 
muscles,  etc.,  are  both  to  be  regarded  as  inspiration  drawn  from 
the  sight  of  Asiatic  works  of  art.  Beside  the  introduction  of 
Asiatic  elements,  the  present  class  differs  from  the  preceding  in 
the  suppression  of  rectilinear  decoration.  Comparing  the  three 
stages  of  Greek  pottery,  one  of  the  ky likes  1215*  (F,  2),  1214 
(35,  3),  with  solely  geometrical  decoration,  the  great  vase  of  Curium 
which  adds  much  decoration  of  animals,  and  38  (C.  H.  XXXI")  we 
see  how  the  Greek  imagination  was  waking  till  it  rose  to  its 
natural  height  in  the  classic  art.  In  the  one,  decoration  is  lifeless  ; 
in  the  next,  lifeless  figures  of  animate  beings  are  added  ;  in  the 
Asiatic  class  life  is  put  into  these  figures,  which,  however,  are  still 
in  no  relation  to  one  another.  In  the  classic  pottery  the  figures 
make  a  group. 

The  color  of  ground  and  paint  of  No.  38  reappears  in  most  of 
the  potter)^  of  this  class,  and  together  with  peculiarity  of  shape 
identifies  vases  without  the  rosettes,  and  the  strange  animals  of 
Asian  wildernesses  and  religion.  Thus  5491,  5493  are  of  this 
class  by  reason  of  clay,  paint,  and  shape.  To  5493  is  often  given 


CYPRIOTE   POTTERY.  2/ 

the  ancient  name  of  bombylios,  and  to  5491  ary hallos  by  uncertain 
identifications,  Both  were  probably  used  for  toilet-oils.  5490  in 
the  Curium  Treasure  (F,  Pyram.  2)  is  of  the  shape  and  size  of 
5491.  The  same  shape  and  size,  and  the  same  decoration  of 
soldiers,  has  been  found  in  Italy,  and  in  Mycenae  by  Schliemann. 
4751  (29,  5)  is  of  the  Asiatic  class,  but  different  from  the  preced- 
ing, and  unique  in  the  collection  by  reason  of  shape,  color  of  clay, 
and  decoration.  On  each  side  is  a  large,  handsome  ornament, 
highly  conventionalized  from  vine  and  leaf  into  volutes  and 
palmettes.  This  is  the  Asiatic  element ;  and  the  color  of  its  clay, 
paint,  the  absence  of  glaze,  and  its  shape  separate  it  from  the  pre- 
Asiatic  and  from  the  succeeding  classic  pottery.  The  section  of 
a  meander  on  the  neck,  used  not  as  a  border  but  as  an  indepen- 
dent ornament,  is  a  remnant  of  the  pre-Asiatic  decoration.  As  in 
the  pre-Asiatic  class,  the  divisions  in  the  body  of  the  swan  are  not 
marked  by  engraved  lines.  The  succession  of  curves  girdling  the 
lower  part  of  the  vase  are  probably  an  indication  of  water.  The 
decoration  is  a  mixture  of  the  pre-Asiatic  and  Asiatic  classes,  so 
that  the  vase  may  be  assigned  to  the  earlier  half  of  the  pre-Asiatic 
period  of  Greek  pottery. 

In  the  vast  quantity  of  pottery  dug  up  from  graves  throughout 
the  southern  half  of  the  island  these  four  vases  are  quite  alone, 
and  on  the  other  hand  are  closely  parallelled  by  Greek  vases.  It 
is  probable,  then,  that  these  members  of  the  class  were,  imported 
rather  than  imitated  in  Cyprus. 


VASES   OF   THE   CLASSIC   GREEK   KIND. 

Pre-Asiatic  and  Asiatic  Greek  pottery,  compared  with  the  black- 
figured  and  red-figured  vases,  are  after  all  one  in  kind,  the  differ- 
ence being  only  that  Asiatic  figures  took  the  place  of  European 
figures.  In  subjects  and  in  technical  characteristics  they  are  both 
widely  separated  from  the  classic  pottery.  Subjects.  The  figures 
are  now  placed  in  relation  to  one  another,  for  they  make  pictures 
and  are  no  longer  patterns.  Technical,  The  clay  of  fine  texture 
and  handsome  orange  color,  the  paint  of  an  even  black  ;  and  this 
covering  the  body  of  the  vase,  and  over  the  whole  a  coating  of  thin 
transparent  vitreous  glaze,  make  the  new  class  very  different 
from  the  old  in  its  technical  features. 


28  CYPRIOTE   POTTERY. 

I.   BLACK-FIGURED   VASES. 

Nos.  5495,  5471,  5497,  5463,  5464,  5472,  5492,5483,  54§2  (F)  are 
all  in  the  Curium  Treasure.  Within  that  part  of  the  vase  left  free  of 
the  general  black  coating  the  figures  were  traced  on  the  red  clay,  and 
the  outline  filled  with  paint  as  in  the  pre- Asiatic  pottery ;  but  as  in  the 
Asiatic  class,  inequalities  of  surface  were  outlined  by  engraving  lines 
through  the  paint  into  the  clay.  The  flesh  of  women  is  usually  paint- 
ed white.  This  group  compared  with  the  red-figured  vases  shows 
its  earlier  stage  not  only  by  the  less  pleasing  tint  of  the  figures 
but  by  the  ruder  drawing.  The  attitudes  are  stiff  and  the  anatomy 
hard,  salient  portions  of  the  outlines  being  exaggerated.  The 
drapery  is  extremely  stiff.  No.  5495  (F,  2)  is  the  most  archaic  of 
the  specimens  of  this  class.  Its  shape  is  the  hydria,  and  of  a 
primitive  form  much  less  graceful  than  the  very  large  hydria  with 
red  figures  No.  i  (C.  H.  XXVIII).  Glaze,  paint,  color  of  clay, 
drawing  and  subject,  show  it  to  be  more  primitive  than  the  other 
black-figured  vases  of  the  Treasure.  There  are  also  remnants  of 
the  former  Asiatic  style.  These  are  the  two  lions  standing 
composed,  face  to  face,  in  the  upper  compartment — an  Asiatic  ele- 
ment— and  the  two  hawks  filling  the  space  above  the  figures  in  the 
lower  compartment — a  tradition  of  the  older  classes,  pre- Asiatic  as 
well  as  Asiatic.  Herakles  strangling  the  Nemean  lion  was  a 
favorite  subject  in  the  early  black-figured  pottery,  and  is  another 
archaic  trait  of  this  hydria.  The  drawing  of  the  lion  is  distinctly 
the  archaic  rigid  style.  Inscriptions  written  to  the  left  are  in  both 
compartments.  In  the  upper,  above  the  heads  of  the  lions,  is 
AV/P/70S  (fruit);  above  the  left  lion  is  AFA)WE^.  (lions),  T  being 
omitted.  Above  Herakles  is  his  name  with  the  omission  of  K. 
The  other  inscriptions  have  not  been  read.  Unintelligible  inscrip- 
tions often  occur  on  Greek  vases,  and  the  potters  often  left  out 
letters.  The  letters,  as  is  usually  the  case  on  black  figured  vases, 
are  Attic.  The  other  vases  are  well  glazed,  thus  fixing  the  paint. 
Two  display  scenes  from  games,  5472,  5464  (F,  Pyram.  2'.  5472 
is  a  drinking  cup.  Its  subject  seems  to  be  a  chariot  race,  the  turn- 
ing-post appearing  behind  the  horses.  5464  is  a  drinking  cup  of 
the  kind  called  kyliy.  All  the  others  are  decorated  with  Dionysiac 
subjects.  The  religion  of  Dionysos  (popularly  known  as  Bacchus) 
was  highly  sensational,  and  people  went  wild  with  fun  or  with 
enthusiasm  in  his  service.  He  was  very  much  more  than  the 


CYPRIOTE   POTTERY.  29 

patron  of  wine  drinking.  The  pictures  on  these  six  vases  belong 
to  the  jolly  side  of  his  religion,  and  hence  display  grotesque  figures 
cutting  capers.  The  presence  of  grape-vines  combined  with  satyrs 
prove  them  Dionysiac  subjects.  5471  (F,  i)  is  a  large  drinking-bowl 
of  the  shape  that  has  been  identified  with  the  ancient  skyphos.  The 
pictures  on  the  two  sides  are  the  same.  From  each  handle  pro- 
ceeds an  undulating  stem  bearing  a  palmette,  and  next  each 
palmette  is  a  sphinx,  facing  outwards.  Between  the  sphinxes  is 
the  picture  of  Dionysos  with  satyrs  and  nymphs  greatly  excited 
on  one  of  his  journeys  through  forest  and  mountain.  Dionysos  is 
in  the  centre,  bearing  a  huge  drinking-horn,  and  his  head  crowned, 
probably  with  ivy-leaves  and  grapes.  The  figures  are  so  grotesque 
that  it  is  probable  that  the  picture  was  painted  for  one  of  the  rev- 
ellers in  a  carnival  held  in  honor  of  the  god.  There  were  four 
such  carnivals  every  winter  in  Athens.  On  the  kylix  5463  (Pyram. 
i),  the  pictures  on  the  two  sides  repeat  one  another.  A  pair  of 
large  eyes,  as  on  this  vase,  are  frequently  used  in  the  black-figured 
pottery.  It  is  another  scene  from  Dionysos's  excited  train.  Three 
figures  dance,  holding  long  branches  of  the  vine,  two  satyrs  on 
either  side  of  a  winged  female  figure  with  a  very  grotesque  face. 
Who  it  is,  is  not  known.  The  black  spots  in  the  field  are  probably 
grapes.  No.  5492  (Pyram.  2)  is  an  alabastron.  The  ground  of 
the  picture  has  been  covered  with  white  clay,  well  polished.  The 
satyr,  dancing  with  two  nymphs,  is  a  subject  like  those  of  the  fore- 
going Dionysiac  vases.  5483  (Pyram.  2)  is  of  the  shape  called 
lekythos,  a  very  frequent  one  in  Attica,  and  used  as  an  oil-bottle. 
The  black  figures  are  painted  on  a  white  ground.  From  the  ab- 
sence of  satyrs  and  the  presence  of  the  idol  these  figures  are  to 
be  regarded,  not  as  nymphs  of  Dionysos's  excited  train,  but  as 
women  at  one  of  his  feasts,  perhaps  in  the  country.  The  idol  is 
a  double-faced  hernia.  The  herma  being  a  cheap  idol,  a  head  on 
a  post  was  much  used,  especially  in  the  country.  5482  is  another 
scene  from  a  Dionysiac  carnival.  5497  (F,  i)  is  an  oinochoe  for 
drawing  wine-punch  from  the  punch-bowl  called  krater.  This 
Dionysiac  picture,  unlike  the  others,  is  a  scene  neither  from 
Dionysos's  own  revel  nor  from  one  of  his  worshippers,  but  seems 
to  be  mythical ;  that  is,  from  a  story  of  the  god.  The  figure 
turning  his  head  to  look  at  the  satyr,  who  embraces  his  dancing 
partner,  is  Apollo,  if  certain  marks  are  traces  of  his  kithara  kind 


3O  CYPRIOTE   POTTERY. 

of  harp  .     The  cross-bar  in  red  remains,  and  traces  of  the  arms 
can  be  perceived  at  a  certain  angle. 

II.— RED-FIGURED  VASES. 

Nos.  5498  (F,  ib),  5481  (F,  Pyram,  2),  5479,  5480  (36,  2b). 
Two  were  in  the  Treasure  of  Curium  and  two  in  graves ;  5498  is 
a  fragment,  and  the  others  are  little  vases  of  the  shape  identified 
with  the  aryballos,  and  show  in  two  cases  a  bust  and  in  one  a 
sphinx.  5481  is  the  bust  of  Athene  (Minerva).  The  presence  of 
5498  and  5481  in  the  Treasure  have  an  important  bearing  on  the 
question  of  the  date  when  the  temple  came  to  an  end,  to  be  dis- 
cussed in  the  Hand-book  of  the  Jewellery. 


GREEK  POTTERY  WITH  GLASS. 

(CASE  36.) 

Vases  with  pictures  began  to  fall  out  of  fashion  till  by  the  time 
of  Caesar  and  Augustus  they  had  disappeared.  Pottery  continued 
to  be  made  of  course,  but  ornamental  vessels  were  no  longer  of 
clay,  but  of  gold,  silver,  and  glass.  To  this  period  belongs  most  of 
the  pottery  in  Case  36. 

This  came  mostly  from  Larnaka,  the  ancient  Citium.  This  city 
remained  long  Phoenician,  so  that,  when  the  Greek  population 
became  the  ruling  one,  the  pictured  vases  were  going  out  of  fashion. 
The  vases  like  4976,  4977  (2)  are  peculiar  to  Cyprus  in  shape  and 
decoration.  Two,  147,  148  (E.  H.  G.),  bear  Greek  inscriptions.  A 
number  of  pieces  belong  to  the  familiar  glazed  class,  but  are  with- 
out pictures  of  living  beings.  5478  (2b)  is  the  shape  called  ary- 
ballos, and  there  are  a  number  of  ky likes  with  and  without  leg  and 
foot,  as  5469,  5476  (3).  No.  5475  (3)  is  painted  red  underneath 
the  glaze.  5468  (4)  has  a  leaf  ornament  on  a  red  ground.  The 
rest  are  unpainted.  5016  (i)  is  a  large  amphora,  with  base ;  5071, 
5070  (4)  are  amphorae  with  pointed  bottoms.  Nos.  5355,  5192  (5) 
are  of  the  shape  called  askos  (skin),  so  called  because  imitating  the 
skin  of  an  animal  sewed  into  a  bag.  5195  (4)  is  called  a  rhyton, 
an  imitation  of  the  drinking-horn  with  a  stag's  head  at  the  end. 
As  this  cup  had  no  base,  it  had  to  be  quickly  drained.  Often  it 
had  a  hole  in  the  end,  and  then  the  rhyton,  held  high  in  air,  shot 
the  wine  into  the  drinking-cup  or  into  the  drinker's  own  mouth. 


CYPRIOTE   POTTERY.  3! 


ROMAN    POTTERY.     (CASES  37,  38.) 

Roman  fashions  spread  through  the  Mediterranean  world,  and 
thus  Roman  pottery  is  found  in  Cyprus  in  great  abundance.  At 
first  imported,  it  may  well  have  been  finally  manufactured  on  the 
island. 

I.— SAMIAN   WARE.     (CASE   37.) 

It  would  be  a  mistake  to  suppose  that  this  necessarily  came 
from  the  island  of  Samos.  The  Romans  first  got  it  from  Samos 
and  then  made  it  themselves,  still  calling  it  Samian,  and  intro- 
duced it  into  other  countries.  It  is  a  very  hard,  fine  clay,  of  red 
coral  and  sealing-wax  color,  covered  with  a  thin  glaze.  The  shapes 
are  plates  and  cups.  It  is  ornamented  according  to  Roman  fashion 
with  reliefs.  No.  4929  (3)  is  a  good  example  in  all  but  shape.  A 
cheap  imitation  was  made  by  covering  clay  of  poorer  texture  and 
other  color  with  red  paint,  and  polishing  it.  Much  of  the  pottery 
in  Case  37  is  cheap  imitation  of  Samian,  as  4941  (4),  a  bowl  with 
grotesque,  raised  figures.  The  bottle  shapes,  with  globular  or 
pear-shaped  bodies,  with  one  and  sometimes  two  handles,  are  not 
common  in  the  Samian  ware.  They  are  only  imitations,  the  red 
being  paint  and  not  the  color  of  the  clay.  The  three  vases  on  the 
lowest  shelf  do  not  belong  to  this  class,  but  are  part  of  the  pottery 
of  the  Treasure  of  Curium. 

II.— ROMAN  POTTERY.    (CASE  38.) 

Five  features  should  be  noticed,  (i.)  The  red  clay  is  a  great 
favorite  in  Roman  pottery,  and  is  very  often,  unlike  the  red  Roman 
ware  called  Samian,  without  glaze.  The  fire  often  changes  the 
color  of  this  red  clay  so  that  the  same  piece  will  be  partly  red  and 
partly  black.  (2.)  Vases  painted  black  and  coated  with  a  brilliant 
glaze  are  very  common.  This  paint  and  glaze  is  that  of  the  pre- 
ceding Greek  ware.  (3.)  The  Romans  were  very  fond  of  reliefs  on 
their  pottery.  Besides  the  two  in  Case  37,  there  is  only  one  other 
example,  however,  in  this  collection,  5196  (4).  (4.)  Spouts  are  fre- 
quently added.  (5.)  Very  common  vases  are  the  little  oil  bottles 
that  used  to  be  called  lachrymatories  or  tear-bottles,  5283  (3)  and 
5258  (5).  They  are  extremely  common  in  glass. 


32  CYPRIOTE   POTTERY. 


GREEK    AMPHORA. 

They  are  on  the  top  of  the  wall-cases.  There  were  amphorse 
of  various  shapes.  These  are  of  the  Rhodian,  and  were  not 
ornamental  vases  but  used  for  storing  and  transporting  liquid 
provisions,  such  as  wine  and  oil.  The  bottom  is  pointed  to  be 
stuck  in  the  ground,  and  Roman  cellars  in  Italy  have  been  discov- 
ered with  rows  of  these  ancient  wine-casks.  When  taken  out  of 
the  cellar  they  were  leaned  against  the  wall  or  placed  in  stands. 
None  of  the  present  stands  are  ancient.  Most  of  these  amphorae 
have  labels  stamped  on  the  handles. 


LAMPS    OF    TERRA-COTTA. 

In  the  southeast  corner  of  the  Central  Hall  on  the  pillar  next  to 

Case  A. 

All  of  the  lamps  came  from  graves.  (See  p.  7.)  The  open 
lamps  on  the  lowest  shelf  a'nd  the  flat  circular  lamp,  450,  were 
found  with  the  pottery  (1-17).  The  pottery  (19-34)  was  not  ac- 
companied by  lamps. 


ROMAN  AND  GREEK  LAMPS. 

All  the  lamps  above  the  lowest  shelf  are  Roman  or  are  Greek 
of  .a  late  date,  and  were  found  with  the  pottery  (36-38).  The 
Romans  did  not  possess  Cyprus  till  the  middle  of  the  first  century 
B.  c.,  and  for  certain  reasons  it  is  probable  that  the  Greek  lamps 
are  not  earlier.  The  period  to  be  assigned  to  these  lamps,  then, 
except  those  on  the  lowest  shelf,  is  the  first  century  of  the  Roman 
Empire,  that  is,  few  are  earlier  than  the  year  i  A.  D. 

The  lamps  of  terra-cotta  (/.  <?,  baked  clay)  were  cheap,  and 
hence  these  were  used  by  people  who  lived  in  a  plain  way.  People 
of  means  used  bronze  lamps.  The  hole  in  the  nozzle  is  for  the 
wick,  that  in  the  bowl  for  the  oil,  and  was  closed  by  a  stopper. 
No  stopper,  however,  was  found  with  the  present  lamps.  These 
lamps  were  tapers  and  not  lamps  such  as  ours,  which  burn  a  large 
flame  that  neither  flickers  nor  smokes.  They  we^e  inferior  to 


CYPRIOTE   POTTERY.  33 

moulded  candles,  which  it  is  believed  were  not  invented  at  that 
time.  Many  of  the  lamps  in  this  collection  have  inscriptions  on 
the  bottom,  chiefly  in  Latin,  and  most  record  the  name  of  the 
maker.  Some  may  have  been  imported  into  Cyprus,  but  whether 
the  individuals  among  these  lamps  are  Cypriote  or  not,  their  char- 
acter is  Roman,  and  lamps  of  the  same  shapes  and  subjects  of 
decoration,  often  with  identical  designs,  have  been  found  through- 
out the  Roman  Empire.  Some  have  received  a  coating  of  red. 
others  of  drab,  precisely  like  the  Roman  ware  in  Case  38. 

The  Romans,  vigorous  in  action  but  brutal  in  sport,  were 
extremely  fond  of  the  shows  in  the  amphitheatre,  where  gladiators, 
who  were  slaves,  were  forced  to  fight  one  another,  often  to  death, 
for  the  spectators'  amusement.  Nos.  i,  15,  18,  19,  20,  are  views  of 
gladiators.  The  helmet  with  its  crest,  which  was  often  feathered 
as  in  i  and  18,  with  its  broad  brim  and  vizor,  was  different  from 
the  military  helmet.  The  right  arm  bare  of  shield  was  bandaged 
with  leather,  as  is  seen  in  the  more  distinct  relief  of  i.  The  body 
was  unprotected  by  armor.  The  thighs  were  often  bandaged  with 
leather,  as  in  18,  and  the  shins  often  shielded  by  greaves,  as  seen 
in  15  and  19.  There  were  several  equipments  and  usually  the 
antagonists  were  equipped  differently.  They  fought  duels  or 
fought  in  troops.  When  one  of  the  duellists  found  his  battle 
hopeless,  he  lowered  his  weapons  and  stretched  to  the  spectators 
an  arm  and  hand  with  forefinger  raised  in  enquiry.  If  they 
answered  with  closed  hands,  it  was  a  sign  of  mercy;  if  they 
held  out  the  fist  with  extended  thumb,  the  fight  went  on  to  the 
end. 

i.  A  gladiator  advances  to  the  duel. 

15.  The  gladiator  on  the  left  has  lost  his  shield  and  makes 
shift  with  his  left  arm  instead. 

1 8.  The  wounded  man   in   front   raises  his  finger  to  ask  the 
question.     The  man  behind  is  either  the  victor  who  has  stumbled 
or  is  a  frightened  friend. 

19.  The  helmets  are  of  one  kind  but  the  shields  differ,  and  the 
man  on  the  left  seems  to  wear  no  greaves.     It  seems  to  be  the 
moment  after  each  has  beheld  the  answering  signal.     The  victor 
raises  his  sword  for  the  final  blow. 

20.  A  moment  later.     The  vanquished  slave  lies  dead  in  his 
shield,  on  his  face,  and  the  victor  with  lowered  sword   and  face 
uncovered  receives  the  spectators'  applause. 


34  CYPRIOTE   POTTERY. 

25.  One  of  the  chariots  in  a  race  in  the  circus.  The  driver  as 
usual  stands. 

27  may  be  a  mounted  gladiator.  Lances,  however,  were  gener- 
ally used. 

39  is  a  boxer.  Gymnastic  contests  were  Greek  and  were  not 
popular  in  Rome. 

43.  Maenad  (or  Bacchant)  in  the  attitude  that  became  typical 
in  art.  The  religion  of  Dionysos  (Bacchus)  was  sensational  and 
of  two  kinds — wild  fun,  and  "enthusiasm  "  in  its  original  sense  of 
"  filled  with  the  spirit  of  a  god."  The  Maenad  is  a  figure  from  this 
latter  half  of  the  Dionysiac  religion.  Every  other  year  women  in 
Greece,  unaccompanied  by  men,  retired  to  the  wilderness,  and  in 
the  hours  of  night,  amid  wild  excitement,  performed  the  holy  rites, 
the  most  important  of  which  was  to  tear  young  animals  of  the 
forest  to  pieces  in  memory  of  the  sufferings  of  their  god.  The 
relief  on  this  lamp  shows  one  of  the  worshippers  with  the  quarter 
of  a  fawn  or  some  other  young  animal  in  one  hand  and  the  knife 
in  the  other,  rushing  through  the  wilderness. 

46.  See  below  at  100. 

50.  Aphrodite  (Venus)  at  the  bath.  The  shower-bath  was  the 
favorite  mode,  and  the  vessel  containing  the  water  is  seen  on  a 
column  on  the  left. 

77.  Zeus  (Jupiter)  with  the  attributes  betokening  his  position  of 
universal  lord,  the  sceptre  in  his  left,  the  thunderbolt  in  his  right, 
the  eagle  at  his  feet. 

78.  The  bust  of  Jupiter  borne  through  the  sky  on  the  back  of 
his  eagle.     It  seems  to  have  been  a  symbol  of  translation  to  the 
other  world. 

80.  Mask  of  Pan.  "  Mask  "  is  used  in  two  meanings,  either 
the  false  face  used  by  the  ancient  actors,  or  as  in  this  case,  a  face 
worked  in  relief  on  a  surface  or  applied  to  it,  serving  as  an  orna- 
ment. Pan  was  a  mixture  of  man  and  goat.  From  the  hips 
downward  he  was  a  goat,  and  his  head  was  beast-like,  as  seen  by 
this  mask,  in  horns,  nose,  eyes,  beard  and  hair.  He  figured 
greatly  in  the  superstitions  of  the  country  folk  and  belonged  to 
the  band  of  Dionysos. 

82.  Europa  in  her  ride  on  the  back  of  the  bull  from  Asia 
to  Crete. 

83".  Athene  (Minerva). 

84.  Actaeon  killed  by  his  dogs.      He  was  a  hunter  who  had 


CYPRIOTE   POTTERY.  35 

been  so  unfortunate  as  to  see  Artemis  (Diana)  while  she  was 
bathing  in  the  woods.  She  changed  him  into  a  deer  and  he  was 
killed  by  his  own  dogs.  The  artists  thought  it  better  to  draw 
Actason  in  his  human  shape,  indicating  the  transformation  by 
budding  antlers  on  the  forehead. 

86.  Terpsichore,  the  muse  of  dancing,  with  her  lyre. 

88.  The  goddess  of  victory  with  crown  and  palm  to  be  given 
to  some  victor.     She  is  easily  known  by  her  wingst 

88*.  A  New  Year's  gift,  if  the  inscription  will  so  read.  Shields 
with  inscriptions  were  decreed  by  the  Roman  government  and 
hung  up  in  a  public  building  in  commemoration  of  noble  deeds,  as 
we  award  medals.  In  allusion  to  this  custom  the  giver's  wish 
inscribed  on  a  shield  is  very  suitably  borne  by  the  goddess 
Victory.  The  present  inscription  is  illegible,  except  the  word 
NOVO,  but  the  following  is  copied  from  a  similar  lamp :  ANNO 
NOVO  FAVSTVM  FELIX  TIBI,  that  is,  My  best  wishes  for  the 
New  Year. 

89.  Either   siren   or  harpy,  a   woman   with  tail   and   legs   of 
a  bird. 

93.  Satyr  with  a  wine-skin  on  his  back.     The  satyrs  were  fol- 
lowers of  Dionysos  (Bacchus). 

94.  Centaur  carrying  a  vase  on  his  back.     Centaurs,  half  man 
half  horse,  not  unfrequently  took  part  in  the  procession  of  Diony- 
sos,  and  this   seems  to   be  the   case  here,   the  vase  probably 
containing  wine. 

96.  Odysseus  (Ulysses)  escaping  from  Polyphemos'  cave.  He 
blinded  the  giant  shepherd,  and  with  his  companions  gave  him  the 
slip  by  accompanying  the  giant  sheep  to  pasture  next  morning  in 
the  manner  here  portrayed. 

96".  Achilles  and  Penthesilea.  The  Queen  of  the  Amazons 
came  to  relieve  the  besieged  Trojans.  In  the  battle  with  the 
Greeks  they  were  defeated,  Achilles  killing  the  beautiful  queen, 
and  as  she  died  he  fell  in  love  with  her.  The  moment  depicted  is 
when  he  supports  her  as  she  falls.  The  indistinct  relief  shows  her 
Phrygian  cap  and  Amazon's  shield  on  the  left,  fallen  to  the 
ground. 

100,  109,  no,  46.  Cupid  was  a  great  favorite  in  the  later  art, 
figuring  in  the  stories  told  of  him  or  in  the  actions  of  ordinary  life, 
so  that  many  pictures  of  little  naked  winged  boys  are  only  scenes 
from  life  removed  into  a  fairy-like  region.  This  seems  to  be  the 


36  CYPRIOTE   POTTERY. 

case   with   all   of   these   except    109,  which  is  Cupid  in  his  own 
character. 

114.  Head  of  the  Sun  placed  in  the  crescent.  The  twelve  rays 
about  his  head  are  perhaps  an  allusion  to  the  months. 

125".  Pegasus.  He  sprang  from  the  neck  of  Medusa  when 
Perseus  cut  off  her  head,  as  seen  on  one  of  the  ends  of  the 
sarcophagus  (E.  H.  C.). 

27.  The  eagle  of  Zeus  (Jupiter)  standing  on  the  globe  with  the 
palm  of  victory  in  his  beak  and  the  arrows  of  lightning  in  his 
talons. 

150.  The  dolphin  and  the  trident  are  emblems  of  Poseidon 
(Neptune)  and  the  sea. 

209.  Pieces  of  armor.  Greaves  below  and  above  with  two 
swords,  straight  and  curved. 

211.  Pieces  of  armor.  Helmet,  shield  and  sword.  Perhaps  the 
arms  of  a  gladiator,  to  judge  by  the  shape  of  the  helmet. 

222.  Crown  of  laurel.  Crowns  made  of  foliage  or  imitated  in 
gold,  and  conferred  as  rewards  or  worn  by  functionaries  when 
officiating,  were  a  very  common  figure  in  antiquity.  248,  the  large 
lamp  on  the  wall  at  top,  has  a  similar  wreath. 

199.  The  Golden  Candlestick  of  the  Temple  of  Jerusalem,  quite 
like  that  on  the  arch  of  Titus  in  Rome. 

369.  A  Christian  lamp  with  the  monogram  of  Christ,  the  two 
first  Greek  letters  of  his  second  name  (CH  and  R).  Such  lamps 
are  often  found. 

392.  Head  of  Pan  without  beard  (see  80  above). 

390.  Masks  worn  by  comic  actors. 

442.  The  hole  on  the  side  held  a  pin  used  for  trimming 
the  wick. 


TERRA-COTTA    STATUETTES. 

IN  EAST  ENTRANCE  HALL  (CASES  16-21). 

Primitive  and  Phoenician  in  16  (3-6),  17,  20,  21 ;   Greek  and  Roman 
in  1 6  (1-2),  17,  1 8,  19. 

Figurines  made  of  earth  have  been  found  in  vast  numbers  in  the 
ancient  Mediterranean  world,  in  Egypt,  Babylonia  and  Assyria,  in 


CYPRIOTE   POTTERY.  37 

the  Phoenician  countries,  the  Greek  countries,  and  the  Roman 
Empire.  Figures  of  gods  and  men  were  offered  to  gods  in  tem- 
ples, were  used  by  the  people  in  their  daily  life  for  worship  or  for 
pleasure,  and  were  buried  with  the  dead.  The  present  terra- 
cottas were  found  in  graves  or  were  turned  up  from  the  soil, 
usually  in  ruins  of  buildings,  in  which  case  they  were  probably 
votive  offerings  in  a  temple. 

PRIMITIVE  AND  PHffiNICIAN  TERRA-COTTAS.—  These 
statuettes  are  of  two  distinct  classes  as  far  as  modelling  goes, 
in  which  the  one  case  is  shapeless,  in  the  other  so  good  that  a 
national  type  is  clearly  revealed  and  seen  to  be  like  the  Assyrian 
and  Babylonian. 

PRIMITIVE. — A  figure  of  rude  art  is  not  necessarily  early, 
and  the  distinction  between  an  individual  and  its  character  must 
be  borne  in  mind.  The  character  may  be  old,  the  individual 
new.  The  rude  modelling  of  an  early  day,  before  style  existed, 
continues  into  times  even  of  artistic  excellence  and  is  practised  by 
workmen  ignorant  of  design.  The  surroundings  must  decide  for 
early  or  late,  and  in  this  collection  wherever  there  were  accom- 
panying objects,  such  as  pottery,  these  were  of  the  early  period 
and  not  of  the  later  and  Greek  age  of  Cyprus.  The  primitive 
terra-cottas  are  made  by  rude  pinching  with  the  fingers.  Such 
being  the  case,  it  is  impossible  to  pronounce  upon  the  national 
cast  of  countenance.  The  characters  of  many  of  the  figures  are 
those  of  the  Semitic  terra-cottas.  for  example,  the  Semitic  Venus. 
Usually  the  only  modelled  features  of  the  face  are  nose  and  chin, 
the  eyes  and  lips  being  marked  by  painted  lines.  The  body  is 
painted  with  rectilinear  decoration  like  the  associated  potter}-. 
The  body  is  often  cylindrical,  with  a  circular  foot  like  the  foot  of 
a  vase. 

PHffiNICIAN,  WELL  MODELLED.— These  statuettes  in  phy- 
siognomy, character  of  the  personage  and  dress,  resemble  greatly 
terra-cottas  discovered  in  Assyria  and  Babylonia.  They  are  there- 
fore Phoenician,  since  the  Phoenicians  as  well  as  the  Euphratic 
nations  were  Semitic.  Most  of  them  were  made  in  a  trough-like 
mould,  the  clay  being  pressed  into  it  by  the  fingers.  Consequently 
they  are  not  modelled  in  the  round,  but  are  unfinished  behind, 
where  they  show  the  marks  of  the  potter's  fingers.  The  modelling 
is  often  excellent,  and  in  more  than  one  instance  is  quite  as  true 
to  nature  as  that  of  Greek  terra-cottas  of  the  best  period. 


38  CYPRIOTE  POTTERY. 

Thus,  except  for  the  conventional  treatment  of  the  beard,  the 
Phoenician  mask  (20,  2)  or  the  head,  174  (20,  i),  is  as  naturalistic 
as  the  beautiful  Greek  head,  526  (18,  4").  If  the  spectator  does 
not  look  for  beauty  but  will  demand  only  portraits,  he  will  con- 
clude that  there  were  excellent  modellers  among  the  Phoenicians 
of  Cyprus.  The  bodies  are  inferior  to  the  faces,  being  rigid  in 
attitude.  If  the  present  terra-cottas  could  bear  cleaning,  it  is  not 
improbable  that  they  would  show  coloring  like  70  and  71  (21,  4), 
in  which  the  eyes,  hair  and  beard  were  colored  black,  lips  red,  and 
clothing  a  lighter  red. 

(i.)  N.  B. — There  are  reasons  for  believing  that  the  figurines  of 
the  following  goddesses  were  often  put  into  the  graves  of  women 
to  denote  their  sex ;  the  same  graves  contained  mirrors,  pins  and 
needles.  In  the  same  way  it  is  probable  that  the  statuettes  of 
human  beings  (VI-VIII)  were  often  advertisements  of  the  position 
held  in  life  by  the  deceased. 

(2.)  N.  B. — The  reader  should  now  proceed  to  the  list  on  p.  40, 
referring,  when  directed,  to  the  two  preceding  paragraphs,  P  (Primi- 
tive), M  (Phoenician,  Well  Modelled},  and  to  the  following  I-VIII. 

GODS.     I-V. 

I.  SEMITIC  VENTTS.— In  Assyria  and  Babylonia  is  often  found 
the  figure  of  a  woman  either  naked  or  clad,  with  hands  on  breasts 
as  seen  among  these  Cypriote  terra-cottas.  She  wears  much 
jewellery — earrings,  necklace  and  breast  chains,  one  of  which  is  often 
replaced  by  a  cord  on  which  is  hung  a  round  object  that  looks  like 
a  large  locket.  The  hair  is  carefully  dressed,  long  locks  are  on 
each  side  of  the  head  and  often  fall  forward  over  the  shoulders, 
and  a  high  turban  is  often  worn.  The  Latin  name  of  Venus  here 
applied  must  not  be  understood  as  the  goddess  of  love  and  beauty 
in  Greek  and  Roman  poetry  and  sculpture,  but  as  the  mother 
goddess  of  nature  who  gives  fertility  to  plants  and  animals,  and  it 
is  to  this  that  the  gesture  in  question  alludes.  It  is  a  representa- 
tion of  Ishtar  on  the  Euphrates  and  Ashtaroth  (Astarte)  on  the 
Phoenician  coast.  From  Cyprus  the  Semitic  goddess  went  to 
Greece  as  Aphrodite,  and  when  the  Romans  borrowed  Greek 
fashions  in  philosophy,  literature  and  art,  the  Italian  Venus  was 
made  to  figure  as  Aphrodite.  The  physiological  gesture  of  this 
ancient  Cypriote  goddess  was  transfigured,  for  example,  in 


CYPRIOTE   POTTERY.  39 

Kleomenes'  Aphrodite  (Venus  de  Medicis),  into  a  moral  one. 
This  type  occurs  both  in  the  primitive  and  positively  Semitic 
classes.  Figs.  21,  20,  22  (21,  6),  i,  2,  3,  10,  15,  18  (21,  5),  19 
(20,  5),  24  (20,  4).  The  same  figure  is  placed  four  times  repeated 
at  one  end  of  the  sarcophagus  A. 

II.  Probably  the  Semitic  Venus  again.     One  arm,  usually  the 
right,  is  on  the  bosom,  the  hand  holding  usually  a  fruit  or  flower, 
the  other  arm  hangs  by  the  side  and  the  fingers  often  grasp  the 
robe  lightly.    The  fruit  or  flower  is  another  allusion  to  the  goddess 
of  nature,  who  made  the  plants  grow.     Both  gestures  are  seen 
plainly  in  47  (20, 5)  and  the  stone  statuette  230  (North  Aisle  10,  3). 
The  type  is  common  in  early  Greek  art  and  is  called  Aphrodite. 
Figs-  35»  38>  39,  40,  44,  47  (20»  5)>   I09  (20>  4).     No.  32   (20,  5) 
holds  a  bird,  probably  the  dove,  which  in  Syria  and  Greece  was 
this  goddess's  bird. 

III.  Female   figures,    standing    or    sitting,   holding    children, 
probably  the  same  goddess.     Figs.  13,  14  (21,  5),  5,  112  (20,  4), 
104  (21,  2). 

IV.  Certain   figures  of   women  with  jewellery  and  both  arms 
hanging  at  the  sides  may  be  the  Semitic  Venus.     Figs.  72  (21,  6), 

J7  (2I>  5)>  73  (21,  4),  79  (2I>  2)- 

V.  Certain  seated  figures   of  women   may  be   goddesses,  for 
divinities  are  often  figured  enthroned.     Figs.  7  (21,  4),  130  (20,  4). 

• 

MEN.     VI-VIII. 

VI.  SACRIFICIAL  PERSONAGES.— Primitive  and  well  mod- 
elled.     They  represent   not    unlikely   persons   engaged    in   the 
sacrifices.     They  hold  musical  instruments,  or  victims,  or  sacrifi- 
cial vessels,  such  as  the  patera,  which  is  the  Latin  name  of  the 
saucer  used  for  pouring  a  libation  of  wine  into  the  holy  fire,  as  242 
(20,  3).     Figs.  51,  83,  89  (21,  6),  246  (20,  6),  92,  93,  92  (21,  4), 
194,  *95>  J99>   Z98   (2I>  3),  204,  242>  243>  255»  262»  264  (2<>,  3), 
2°3>  237- 

VII.  SACRIFICIAL   PERSONAGES.  —  Certain  figures,   with 
both  arms  raised,  may  represent  singers  in  a  religious  service  or 
priests  adoring.     Figs.  185,  186,  187  (20,  6),  in,  188  (20,  4). 

VIII.  SOLDIERS.— Perhaps  representations  of  the  deceased ; 
on  foot,  figs.  129  (20,  4),  213,  214  (21,  3),  233  (20,  2) ;  mounted, 
280,  281  (17,  3)  ;  in  chariots,  326,  329  (16,  4). 


40  CYPRIOTE   POTTERY. 

PRIMITIVE    AND    PHOENICIAN    TERRA-COTTAS. 
(CASES  20;  21;  16,3-6.) 

1-4,  P.  From  Alambra,  in  graves  with  pottery  (1-6) ;  i  is  mod- 
elled in  the  round,  2-4  are  flat  cakes  of  clay,  i  and  3  have  punc- 
tures for  the  eyes,  2  has  knobs,  i  has  around  neck  and  waist 
engraved  rings,  perhaps  for  necklace  and  belt;  3  has  rectilinear 
decoration  engraved,  and  4  rectilinear  painted,  1-3,  I ;  4,  V. 

5,  P,  III.  In  grave  with  pottery  (Case  13).  Punctured  eyes, 
rectilinear  painted  decoration. 

7,  P,  V.  In  grave  with  pottery  (13).  The  figure  is  strikingly 
like  some  found  by  Dr.  Schliemann  at  Mycenae. 

10,  13-15,  17,  P.  In  graves  with  black  pottery  (8)  and  white 
(9-11),  and  Assyrian  cylindrical  seals.  Eyes  are  disks  within 
rings;  10,  13,  14  have  engraved  rings,  15,  17  painted  rings  around 
the  neck  for  necklaces ;  10,  13  have  large  movable  earrings  ;  10,  15, 
I;  13,  14,  HI  j  17,  IV. 

18,  between  P  and  M,  I.  This  and  19  etc.  (see  below),  32  etc., 
51,  56,  72,  73,  142-145  were  in  graves  at  Agios  Paraskiva,  Lapethus, 
etc ,  in  the  north  of  the  island,  with  pottery  (14-15). 

19-22,  24,  M,  I.     See  18. 

32,  35,  38,  39>  44,  M,  II.     See  18. 

47,  M,  II. 

50.  Face  is  tolerably  well  modelled,  I  and  V.     From  Dali,  in 
grave  with  the  plate  3619  (31,  5) ;  the  colenders  (35,  5  at  top),  and 
five  of  the  Egyptian  bowls  (E.  H.  4,  4). 

51,  M,  VI.     See  18. 

56,  M.  Bearded  man  with  peaked  Phoenician  cap,  and  arm  on 
breast  within  shawl,  like  many  of  the  stone  statues.  See  18. 

70,  M.     From  Amathus.     This  is  supposed  to  be  an  image  of 
the  Bearded  Venus  of  Amathus,  who,  as  we  know  from  ancient 
writers,  was  worshipped  there. 
.   72,  73,  M,  IV.     See  18. 

79,  M,  IV. 

83-89,  M,  VI. 

90,  M  as  far  as  the  head  goes,  VI.  90,  92,  93,  102*,  109,  in, 
112,  206  came  from  Citium,  but  not  in  graves;  were  turned  up 
from  the  soil  on  the  same  spot  with  many  Greak  figurines  as  439 
(19,  6).  They  were  probably  votive  offerings  of  a  temple,  and  the 
present  set  belonged  probably  to  its  Phoenician  period.  90,  93,  92 


CYPRIOTE    POTTERY.  41 

have  cylindrical  blocks  instead  of  bodies,  like  many  of  the  primi- 
tive class.     90  is  a  harp  player. 

92,  see  90,  VI,  holds  a  patera  (?) 

93,  see  90,  VI,  tambourine  player. 
102",  see  90. 

104,  between  P  and  M,  III. 

109,  M,  II,  see  90. 

in,  M,  VII  ?',  see  90. 

112,  M,  III,  see  90. 

114,  M,  one  of  the  best  heads. 

129,  M,  VIII. 

130,  M,  V. 

139,  M.  Found,  not  in  grave,  near  Cape  St.  Andrea.  Strikingly 
Assyrian-like  head. 

142-145,  P,  masks,  bearded.  142  has  a  neck;  all  have  holes 
at  top  by  which  they  can  be  hung.  See  18. 

146,  M.  From  Carpasia,  not  in  grave,  nor  with  pottery.  The 
larger  heads,  151  to  180,  were  not  found  in  graves,  but  were  turned 
up  from  the  soil,  generally  in  the  midst  of  ruins.  They  were 
therefore,  probably,  fragments  of  terra-cotta  statues,  votive  offer- 
ings like  the  large  and  small  stone  statues.  Some  of  these  statues 
of  terra-cotta  must  have  been  as  large  as  life,  to  judge  by  the  heads. 
Some  are  strikingly  Semitic,  and  most  of  these  were  found  in  the 
long  }  eninsula  in  the  northeast  of  the  island,  showing  that  this 
district  was  originally  Phoenician. 

151-153,  M.  From  Carpasia  in  the  peninsula  spoken  of.  The 
peaked  cap  is  the  Phoenician  cap,  as  seen  on  the  stone  heads 
(N.  Aisle,  B).  See  146. 

154,  M.     From  Paphos.     See  146. 

156,  M.     From  Carpasia.     See  146. 

159.  From  Paphos.  159,  160,  162,  163,  169,  170,  179,  are 
very  different  from  the  others  in  style,  being  much  ruder  and  not 
Semitic  in  features.  See  146. 

162.  See  159  and  146.     From  Cythrea. 

163.  See  159  and  146.     Between  Alambra  and  Dali  (Idalium). 

172,  M.     From  Cythrea.     See  146. 

173,  M.     From  Cythrea.     See  146. 

174,  M.     From  Carpasia.     See  146. 

177,  M.  From  Dali,  on  the  site  of  the  temple  discovered  by 
Mr.  Lang.  See  146. 


42  CYPRIOTE   POTTERY. 

183,  P,  mask.  Between  Alambra  and  Dali,  in  a  grave  with 
J93  (2I>  3)  and  tne  large  red  vases  (D,  i). 

185,  P,  VII. 

186,  P,  VII.     From   Citium,  in   one   grave   with  eight  vases 
(Case  12),  1207,  1208  (i),  996  (2),  1187,  1197  (3),  n88,  1134, 
1130  (5)  and  3579  (25,  3),  and  the  hat-shaped  gold  ornaments 
(S.  gallery,  46). 

187,  P,  VII.     From  Citium.     The  head  belongs  rather  to  M. 

188,  P,  VII. 

193,  P.     From  Dali.     See  183,  a  man  holding  up  a  mask. 

194,  P,  VI.      From  Alambra  with  pottery  (1-6).      Man  with 
a  lyre. 

105,  P,  VI.    From  Dali,  man  playing  the  double  pipes. 

198,  P,  VI.     From  Dali. 

199,  P.  VI  (?).     From  Dali. 

203,  P,  VI.     From  Citium. 

204,  P,  VI.     From  Dali. 

206,  P.  From  Citium.  See  90.  Probably  the  image  of  a 
goddess. 

213,  P,  VIII.     From  Alambra  with  pottery  (1-6).     So  also  214. 

214.  See  213. 

216,  P.     From  Aradipo,  not  far  from  Citium. 
218,  P.     From  Amathus. 

221,  P.     For  attitude  and  dress  see  56. 

222,  P.     From  Aphrodisium,  on  the  north  coast.     See  221. 
233,  P,  VIII. 

237,  P,  VI.     From  Citium.     See  90. 

242,  P,  VI.     From  Aradipo. 

243,  P,  VI.     From  Citium. 

245,  P.     From  Citium.     See  90. 

246,  P,  VI.     From  Citium. 

247,  P,  VII  (?). 

255,  P,  VI.  From  Carpasia.  A  ring  of  figures  dancing  about 
a  player  on  the  double  pipes. 

262,  P,  VI  (?),  with  264  found  at  Curium  with  pottery  (24). 

264.     See  262. 

265"^.  A  procession  found  in  a  grave  at  Alambra  with  pottery 
(1-6).  265"  carries  two  jars  of  a  shape  not  found  in  the  eighty- 
two  graves  of  Alambra,  nor  had  any  of  the  vases  painted  deco- 
ration. 265d  contains  a  player  on  the  double  pipes.  265H  are 


CYPRIOTE   POTTERY.  43 

three  separate  pieces.  265'  looks  like  a  bandaged  mummy,  but 
has  the  head  and  gesture  of  19  (20,  5).  Its  face  is  covered  by 
the  well  modelled  mask  of  a  cow.  The  procession  may  be  a 
funeral  of  a  woman,  in  which  case  the  figure  of  the  Semitic  Venus 
represents  the  deceased.  [See  (i),  N.  B.,  p  38.]  The  cow's  mask 
placed  over  the  face  may  be  a  symbol  of  the  goddess's  protection, 
since  the  cow  was  the  animal  of  more  than  one  eastern  goddess. 
See  206. 

266,  P,  with  268,  270,  from  Alambra  with  pottery  (1-6).  Prob- 
ably figures  of  horsemen  were  marks  of  the  position  of  the  de- 
ceased. 

273,  P,  with  275,  276,  in  graves  at  Curium  with  pottery  (24). 

307,  P.     From  Ormidia  with  pottery  (D). 

318,  P.     From  Curium.     A  baking  scene. 

323,  P,  with  324,  from  Alambra  with  pottery  (1-6),  may  repre- 
sent shrines. 

326,  P.  From  Amathus,  not  in  a  grave.  The  driver  only 
remains  ;  the  soldier  is  broken  off ;  his  shield,  which  hangs  behind 
the  chariot,  has  for  its  boss  the  head  and  neck  of  an  animal. 

355-357,  P.  Cow-masks  from  Dali  in  a  grave,  found  inside 
of  the  large  red  vase  (D,  i). 

363",  P  and  374  were  found  with  7.  Terra-cottas  exactly  like 
363"  were  found  by  Dr.  Schliemann  at  Mycenae. 

374.     See  363". 

385",  385b,  P.  Boats  from  tombs  at  Amathus  with  pottery,  899 
(15,  2),  1898,  1908  (18)  etc.,.  4839  (32,  4),  3696,  4088  (27). 

GREEK    TERRA-COTTA    STATUETTES. 
(CASES  16,  1-2;   18;   19.) 

Vast  numbers  of  similar  figurines  are  found  throughout  the 
Roman  world.  Very  few  in  this  collection  came  from  graves ; 
nearly  all  were  found  in  two  temples — one  at  Citium,  the  other  at 
Hyle  close  to  Curium.  Those  on  (18-19,  1-2)  are  from  Hyle, 
those  on  (18-19,  3-6)  are  from  Citium.  With  the  Greek  figurines 
from  the  Citium  temple  were  dug  up  certain  non-Greek  terra-cottas, 
Nos.  90,  etc.,  which  on  p.  40  were  pronounced  Phoenician.  This 
Greek  temple,  therefore,  was  originally  Phoenician.  Terra-cotta 
statuettes  found  in  a  temple,  like  larger  and  more  expensive 
sculptures,  are  votive  offerings  made  in  asking  a  favor  of  the  god, 


44  CYPRIOTE    POTTERY. 

or  given  in  gratitude  for  kindness  received.  Even  the  figures  of 
gods  among  these  terra-cottas  were  in  most  cases  only  votive 
offerings  and  not  made  to  be  worshipped.  The  worshipper  would 
offer  a  portrait  of  the  god  himself,  or  some  figure  or  group, 
whether  human  or  divine,  that  could  be  brought  into  relation  with 
the  occasion. 

386  (18,  6),  the  image  of  a  goddess,  the  general  air  of  which  is 
that  of  the  Ephesian  Artemis  (Diana)  and  idols  of  other  goddesses 
on  the  u^Egean  coast  of  Asia  Minor.  Found  with  389,  etc. 

389,  397,  414  (18,  6),  400,  402  (19,  51).  These  five  are  of  one 
class  and  came  from  graves  at  Aphrodisium  and  Macaria,  on  the 
northeast  coast  [as  also  386,  408  (18,  6)].  All  five  women  seem 
to  stretch  their  arms  out  wide,  the  hands  being  covered  by  long 
sleeves.  These  are  real  arms  in  402,  414  ;  in  389,  397,  400,  they 
are  false  arms.  All  five  have  conical  caps. 

389  (18,  6),  II,  the  left  hand  holds  a  flower  on  the  bosom,  the 
right  hand  hanging  by  the  side  holds  the  robe.  See  389,  etc.  The 
latter  gesture  has  some  unknown  religious  meaning,  and  is  very 
common  in  the  religious  art  of  Greece  for  goddesses  and  for 
women  engaged  in  religious  rites. 

397  (18,  6),  II,  both  arms  hang  and  the  fingers  of  both  hands 
grasp  the  robe.  The  false  arms  are  broken  off.  See  389,  etc. 

400  (19,  5),  the  same  as  397. 

402  (19,  5),  see  389,  etc. 

408,  VI,  found  with  389,  etc.  A  woman  holding  a  lyre  in  her 
left  arm. 

414  (18,  6),  found  with  389,  etc. 

425  (18,  6),  II,  archaic  (*'.  e.,  primitive)  image  of  a  goddess, 
probably  Aphrodite  (Venus),  from  Idalium,  in  a  grave  with  pot- 
tery like  5115  (36,  2),  unpainted  and  undecorated. 

426  (18,  6),  II,  archaic,  probably  Aphrodite. 
432*  (18,  6),  archaic  head. 

433  (18,  6),  VI,  archaic,  a  patera  in  the  right  hand. 

438  (18,  6),  archaic  head. 

439,  440,  444  (19,  6),  443,  445  (18,  3),  a  goddess  seated  on  a 
throne,  with  high  crown,  long  chiton  (gown)  and  himation  (shawl), 
and  left  arm  on  the  bosom.  The  shawl,  sometimes  surmounting 
the  crown,  sometimes  under  the  crown,  often  envelopes  the  left 
arm  and  hand.  The  right  arm  usually  lies  on  the  lap,  but  some- 
times (445)  holds  a  flower  or  fruit.  The  gestures  belong -to 


CYPRIOTE    POTTERY.  45 

Demeter  (Ceres)  and  her  daughter  Kora,  as  well  as  to  Aphrodite, 
so  that  it  is  uncertain  by  what  name  this  goddess  was  called.  The 
high  crown  and  heavy  draping  belong  more  commonly  to  Demeter. 
The  modelling,  apart  from  the  gesture,  which  is  conditioned  by 
religious  tradition,  is  very  good,  and  small  as  the)'  are,  these 
figures  bear  a  fine  air  of  dignity. 

439,  see  439,  etc.,  two  attendants  with  a  box  in  one  hand  and 
some  long  object  in  the  other. 

440,  see  439,  etc. 

443-445 i  see  439,  etc- 

452  (18,  3),  heads  of  two  figures  like  439,  etc.,  which  probably 
sat  side  by  side,  in  that  case  Demeter  and  Kora. 

459  (l8>  5)»  46o  (19,  6),  461  (19,  6),  462  (19,  5),  attendants  of 
the  enthroned  goddess  439.  They  have  frequently  the  same  high 
crown  worn  by  some  of  the  goddesses. 

464  (18,  3b),  head  of  goddess  439,  etc. 

490  (18,  3b),  491  (18,  4b),  492  (18,  4''),  etc.,  are  heads  of  the 
goddess  439,  etc.,  or  of  her  attendants. 

525,  526  (18,  4°),  probably  heads  of  the  goddess  439,  etc.,  with 
crown  broken  off. 

526,  see  525.  This  and  924  19,  3bi  are  two  of  the  most  beau- 
tiful faces  in  this  collection  of  terra-cottas. 

556,557  1 8,  4  ,  two  fragments.  Girls  leaning  their  heads  upon 
their  hands. 

584  18,  3''),  a  small  relief,  indistinct  from  incrustation ;  prob- 
ably Dionysos  (Bacchus  sitting  on  a  rock  with  the  thyrsos  in  his 
left  hand.  Good  modelling. 

586  1 8,  5),  from  Soli,  on  the  northwest  coast,  in  a  grave  with 
the  pottery  37  . 

593>  598  1 8,  5),  605  are  the  finest  statuettes.  In  clay  and 
modelling  they  are  most  admirable.  612  (18,  5)  is  equally  good  in 
modelling,  but  the  clay  is  inferior. 

593,  see  593,  etc.,  in  chiton  and  himation,  which  last  is  closely 
folded  about  the  figure. 

598,  see  593,  etc.,  dressed  like  593. 

605,  see  593,  etc.,  in  chiton  without  himation. 

612,  see  593,  etc. 

613,  615    1 8,  4   humorous  heads. 

618,  618'  18,  4'  masks  of  tragic  actors,  which  may  have  been 
their  own  offerings  or  made  by  their  admirers. 


46  CYPRIOTE    POTTERY. 

619  ^18,  3  ,  on  an  Etruscan  column,  a  head  wearing  a  comic 
actor's  mask.  It  may  be  a  fragment  of  a  lamp,  the  comedian's 
huge  mouth  serving  as  the  nozzle. 

620,  621  ^18,  4  ,  heads  of  comic  actors  in  masks.     See  618. 

622  (18,  4\  a  small  head  of  admirable  modelling.     Heads  of 
men  suffering  pain  are   often   Laokoon,   Thersites,  or   Marsyas. 
From  the  satyr-like  cast  of  features  this  may  be  Marsyas.     He, 
with  his  flute,  challenged  Apollo  with  his  cithara.    Apollo  defeated 
him,  and  then  flayed  him  alive. 

623  18,  3b;,  strikingly  like  the  ugly  Egyptian  god  Bes,  who  was 
borrowed  from  Asia,  whence  it  is  probable  that  he  went  also  to 
Greece  as  Silenos  (Satyr  .     On  his  breast  is  the  panther's  skin, 
an  allusion  to  the  connection  of    Silenos  with  Dionysos.     It  is 
either  the  Egyptian  Bes,  or  Silenos  figuring  as  Bes. 

624  (18,  3"),  bust  of  Pan.     See  Lamp  80. 

628-648  (19,  4"-4h),  Cupids  or  mortal  boys  playing  with  geese 
and  other  birds,  or  holding  fruits.  Some  of  them  seem  to  be 
scenes  from  human  life.  See  Lamp  100,  etc.,  p.  35.  Many  recall 
the  stone  statues  of  boys  sitting  on  the  ground  and  holding  doves, 
etc.  (N.  Aisle,  26-32,  i.)  Perhaps  both  series  were  offerings  of 
mothers  when  they  prayed  for  offspring. 

670  (19,  3).  More  than  one  prince  had  his  head  modelled  as 
Herakles,  wearing  the  lion's  skull  for  a  helmet.  So  Alexander 
and  Commodus.  The  face  is  not  enough  like  Alexander  to  war- 
rant the  attribution. 

677  (18,  3),  medallion  containing  the  face  of  Medusa,  as  it 
appears  in  the  later  art,  no  longer  frightful.  The  head  is 
winged. 

690"  (18,  5).  This  beautiful  figure  is  from  Italy,  and  the 
only  piece  in  Cases  16—21  not  belonging  to  the  Cesnola 
Collection. 

TERRA-COTTAS  FROM  THE  TEMPLE  OF  APOLLO 
AT  HYLE,  NEAR  CURIUM. 

In  Cases  (18-19,  I~2)  879>  88°  (X9>  3b)»  926  (l8>  4b)>  696> 
700  (16,  i),  935  (16,  2). 

Most  were  found  in  pits  outside  of  the  temple,  where  they  may 
have  been  buried  by  the  authorities  of  the  temple  wfien  the  mass 
of  cheap  votive  offerings  grew  in  many  generations  too  large  for 


CYPRIOTE    POTTERY.  47 

the  space,  or  it  may  have  been  done  by  the  Christian  iconoclasts. 
Nearly  all  of  these  statuettes  are  men,  figures  of  soldiers  on  horse- 
back and  in  chariots,  or  heads  crowned  with  leaves.  The  heads 
belong  to  men  of  all  ages,  from  beardless  youths  to  old  men. 
Many  of  the  figures  have  no  legs,  and  the  arms  and  bodies  are 
shapeless,  the  bodies  being  nothing  more  than  clay  rods.  The 
faces,  on  the  other  hand,  are  admirably  modelled,  as  can  be  seen 
in  spite  of  the  incrustation.  They  are  surprisingly  realistic,  and 
show  a  Roman  cast  of  features.  In  the  series  of  heads  and  figures 
of  statuettes  there  are  certain  types  of  features  often  repeated. 
It  looks  as  if  the  potter  had  provided  himself  with  a  few  good 
moulds  of  heads,  and  set  the  casts  of  these  on  rods  of  clay, 
thus  turning  out  for  the  poorer  worshippers  hundreds  of  votive 
figurines.  Beside  the  figurines,  a  large  number  of  heads  of 
life-sized  and  smaller  statues  in  terra-cotta  were  found  at  the 
same  temple. 

879,  880  (19,  3b)  [see  628-648]  are  still  more  like  the  stone 
statues  (N.  Aisle  26-32,  i),  many  of  which  came  from  the  Temple 
of  Apollo  at  Hyle. 

881,  882  (19,  i)  are  not  from  Hyle  but  Soli,  and  from  the  ruins 
of  a  temple.  While  the  features,  with  their  modelling,  are  evidently 
not  of  an  early  period,  the  hair  is  treated  quite  in  the  archaic 
manner,  not  in  masses,  but  as  a  uniform  surface  of  little  curling 
rings. 

883,  884  (19,  i),  from  the  Temple  of  Apollo  at  Hyle,  probably 
of  the  Roman  period.  For  the  hair,  see  88 1. 

908  (18,  ib),  hair  like  88 1. 

920  (18,  i),  a  fine  mask  (not  theatrical).  The  hole  at  top  was 
used  for  hanging  it.  A  frequent  mode  of  decorating  surfaces  was 
the  application  of  masks.  One  of  these  decorative  masks  was 
offered  to  Apollo  at  Hyle. 

926  (18,  4b),  a  fine  head  from  Apollo's  temple. 


TERRA-COTTA     STATUETTES     FROM     THE    TEMPLE 
OF    CURIUM.    (CASE   F,   SOUTH   AISLE.) 

N.  B. — A  few  pieces  from  other  sources  are  included  in  this  list. 

These  also  were  votive  offerings. 

19,    Semitic   Venus,   unlike   any   other   in   the   collection,  in 


48  CYPRIOTE   POTTERY. 

modelling  between  the  rude  and  the  advanced  oriental  terra-cottas, 
the  face  decidedly  oriental,  probably  a  woman's  offering. 

320,  P,  two  women  making  bread. 

385',  indistinct  because  badly  baked,  a  negro,  well  modelled. 

689",  horseman  in  helmet,  chiton  and  chlamys,  the  two  upper 
corners  of  which,  as  here  seen,  were  fastened  on  the  right  shoulder. 
The  crest  of  the  helmet  is  broken  off.  Good  Greek  work. 

2426,  2426",  2426'',  2427,  2427"  (34,  2),  are  pitchers  ornamented 
with  the  heads  of  women,  except  2426b,  which  is  a  male  head. 
All  are  of  primitive  workmanship.  2427"  is  plainly  oriental  and 
less  rude  than  the  others.  2427"  came  not  from  this  temple  but 
from  a  grave. 

2421,  2422,  see  2734,  etc. 

2734-2745.  No  2744  was  found  in  a  grave.  All  these  vases 
but  2744  have  the  figure  of  a  woman  sitting,  now  and  then  stand- 
ing on  the  shoulder  of  the  vase  and  holding  in  the  right  hand  a 
pitcher,  which  is  the  spout  of  the  vase.  The  figure  on  2744  is 
Hermes  holding  the  caduceus,  and  seems  to  be  of  the  Roman 
period.  The  woman  on  2743  (F,  i)  is  Greek  of  a  good  period 
and  perfectly  well  modelled,  except  the  arm  and  hand  holding  the 
pitcher.  This  was  probably  done  by  a  workman  ignorant  of 
modelling,  in  fastening  the  figure  on.  All  the  other  figures  are  of 
primitive  styles,  and  have  conical  caps  of  the  same  shape  as  those 
worn  by  the  men  from  the  neighboring  temple  at  Hyle  of  the 
Roman  period.  The  left  arm  of  these  female  figures  usually  is 
by  the  side  and  the  hand  holds  the  gown  with  the  familiar 
gesture.  (See  II.)  In  one  case,  2742,  the  left  arm  is  crossed  on 
the  breast  and  possibly  holds  a  flower.  The  features  of  some 
seem  to  be  Semitic;  those  of  2739,  especially  in  profile,  are 
Greek. 

4585  (35,  4),  a  vase  found  in  a  grave.  The  three  legs  are 
bearded  heads  and  strikingly  Semitic. 

5502  is  a  very  interesting  piece,  a  vase  in  the  shape  of  a  man 
crouching  asleep  at  the  foot  of  a  tree.  It  is  probably  Pan,  as  the 
features  and  the  remains  of  horns  on  the  forehead  suggest.  It  is 
an  admirable  piece  of  modelling.  The  right  lower  leg  and  foot 
are  bad,  as  is  often  the  case  with  hands  and  feet  in  Greek  terra- 
cotta statuettes — for  example^  in  the  Tanagra  figurines. 


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